Die Zauberflöte, singspiel in two acts; music by Wolfgang Amadeus Mozart, libretto by Emanuel Schikaneder, Orchestra of the Royal Opera House conducted by Leo Hussain, 6th revival of director David McVicar’s 2003 production, revival director Bárbara Lluch, Royal Opera, 1st November 2019, reviewed by Leslie Jones
Reinhold Hanisch recalls a conversation that he had with Hitler, on the bread line in Vienna. Citing Die Zauberflöte, Hanisch suggested that Mozart was a much greater composer than Wagner. Hitler flew into a rage. He considered Mozart’s work superficial and sentimental.
Imbued as it is with humanistic, nay Masonic, ideals of peace, progress, reason and love, Hitler evidently detested Die Zauberflöte. The character of the Queen of the Night, bent on murder and revenge, was more in line with his social-Darwinist thinking. Yet, paradoxically, there are anticipations of The Ring in Mozart’s late masterpiece. Its hero Tamino, who contends with a giant serpent, prefigures Siegfried. The Queen’s Three Ladies, brilliantly performed on this occasion by Kiandra Howarth, Hongni Wu and Nadine Weissmann, likewise, bring to mind the Rhine Maidens. And for Alberich, read Monostatos (Rodell Rosel, suitably sinister). Indicatively, a production of Der Ring des Nibelungen, at Strasbourg, is one of director David McVicar’s credits. Continue reading