Tag Archives: Buster Keaton

Magic Flute By The Numbers

The Magic Flute (2014); Photo: Robert Millard

The Magic Flute (2014); Photo: Robert Millard

The Magic Flute will take the stage in less than a month, sharing its roaring twenties inspired magic with Los Angeles once more. It’s exciting to see the whole production come together; it’s an elaborate one, but not in the way that you might think. Instead of giant, fantastical sets, this Magic Flute showcases a slew of projected animations, designed by filmmaker Paul Barritt, and inspired by the silent-film era.

https://www.youtube.com/watch?v=HYg1zSrQIyo

There are 677 digital animation cues in the whole opera (yes, opera!). But that’s not all! To evoke the era of Charlie Chaplin, Louise Brooks, and Buster Keaton, you have to have the right costumes. We have 102 original costumes made for the production, including 14 wolf masks worn by our men’s chorus. Yet, no production of Mozart’s famous comedic opera would be complete without a characteristic Monostatos (Brenton Ryan), the evil henchman, who wishes to possess Pamina (Marita Sølberg). Our Monostatos looks like he stepped out of a classic horror film (think Nosferatu with a little more mobility), helped by the 6 prosthetics required for his makeup.

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Designing The Magic Flute: Roaring Twenties Fantasy Film

The Magic Flute is a roaring-twenties set vision. It has the beauty of a classic Louise Brooks film (like Pandora’s Box) , but live. Here, the production team – Suzanne Andrade, Barrie Kosky, and Paul Barritt – talk about the concept behind their vision for Mozart’s fantasy opera.

https://www.youtube.com/watch?v=XwbvFwvSbm4

How did you come up with the idea of staging The Magic Flute with 1927?
Barrie Kosky
(stage director; Intendent of the Komische Oper Berlin): The Magic Flute is the most frequently performed German-language opera, one of the top ten operas in the world. Everyone knows the story; everybody knows the music; everyone knows the characters. On top of that, it is an “ageless” opera, meaning that an eight-year-old can enjoy it as much as an octogenarian can. So you start out with some pressure when you undertake a staging of this opera. I think the challenge is to embrace the heterogeneous nature of this opera. Any attempt to interpret the piece in only one way is bound to fail. You almost have to celebrate the contradictions and inconsistencies of the plot and the characters, as well as the mix of fantasy, surrealism, magic and deeply touching human emotions.

The Magic Flute (2016); Photo: Craig T. Mathew

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