For the 1992/1993 season, director Sir Peter Hall believed that The Magic Flute “should have the metabolism of a child.” He wanted it to capture the childhood essence he believed existed in the music’s “deliberate naiveté.”
Mozart’s The Magic Flute is set in Egypt in the fantasy lands of Sarastro and the Queen of the Night. The young Tamino is asked by the Queen of the Night to rescue her daughter, Pamina, from Sarastro, who has captured her. Tamino falls instantly in love with Pamina and vows to through every trial to be with her.
According to Hall, “Sarastro is a very modern man – a kind of Gorbachev in the Kremlin – trying to reform his religious order so that it admits the balance of women, and so that Tamino may marry Pamino.”
Sir Peter Hall envisioned The Magic Flute as a fantastical opera. Characters were dressed right out of the story books, but were also still able to express the higher-level theme of the piece, which in Hall’s opinion is “how to become a complete person by a union with the opposite sex.”
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