Catalogue
English

Teatro Carlo Felice, ''The Magic Flute''

Genoa

The Genoese staging frees the Zauberoper by Mozart and Schikaneder «... from the encumbrance of a Masonic simbology that, if too much insisted, makes it heavy maintaining its popular nature in the most beautiful sense. The first merit is that of the scenes by Emanuele Luzzati, in collaboration with Roberto Rebaudengo.»Giancarlo Landini, L'opera, n. 211. A RTE - Temporale backdrop rear-illuminated with yellow light puts in prominence the outlines of the wooden panels painted with the reproduction of the unmistakable Emanuele Luzzati's graphic line.
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Sarastro and Pamina. In the background, some painted scenes made of ASC1000S - Sceno width 1.000 cm - Flame retardant. «The famous artist [Luzzati] returns to The Magic Flute after an interval of almost forty years. In 1963, in fact, he signed the minimalist installation of Glyndebourne. For the large space of the Genoese stage he draws a Flute that seems got out of an illustrated children book, but the stylization of the line gives the page an amused irony.»Giancarlo Landini, ibidem.
«The marvelous costumes by Santuzza Calì add irony to the irony winking (only a few) to circus shows.»Giancarlo Landini, ibidem. The RTE - Temporale Rear-illuminated backdrop spreads on the scene, in this case, an orange light.

«Monostatos is a charlatan that gets down from to delicious fair wagon...»Giancarlo Landini, ibidem.The installation was produced in 2001 by Teatro Carlo Felice in order to celebrate Luzzati's eightieth birthday. Besides Glyndebourne installation of 1963, he undertook with Die Zauberflöte also in 1978, realizing with Giulio Gianini a famous cartoon, considered one of the masterpieces of the history of animation film.
The Genoese staging frees the Zauberoper by Mozart and Schikaneder «... from the encumbrance of a Masonic simbology that, if too much insisted, makes it heavy maintaining its popular nature in the most beautiful sense. The first merit is that of the scenes by Emanuele Luzzati, in collaboration with Roberto Rebaudengo.»Giancarlo Landini, L'opera, n. 211. A RTE - Temporale backdrop rear-illuminated with yellow light puts in prominence the outlines of the wooden panels painted with the reproduction of the unmistakable Emanuele Luzzati's graphic line.
«... and the Queen of the Night doesn't frighten anybody. This whole subject [...] doesn't twist, it doesn't overturn; it amuses instead and serves the public really well, it satisfies them with the most superficial aspects of the fable, both that it looks for a more complex vision of the tale, both that it results able to penetrate its philosophy. All, scenographer, costume designer, scene director, they tell the story with taste, with respect and education, but without dust.»Giancarlo Landini, ibidem. The scene is realized with panels made of painted plywood, backdrops made of BGO - Gobelin, of ASC1000S - Sceno width 1.000 cm - Flame retardant and inserts of CPA - Boccascena.
Singspiel in two acts
Music
First night
Vienna, Theater auf der Wieden, 30/9/1791

Scenography
Emanuele Luzzati
in collaboration with Roberto Rebaudengo
Costume design
Pictorial realizations
L'Atelier
Scenographic realizations
Props and Decors
Technical direction
Paolo Giacchero
Stage direction
Daniele Abbado replaced by Boris Stetka

Staging
Season
2006, revival of the staging produced in 2001

See also ...

BGOP - Gobelin Teatro

Scrim and bobbinet fabrics

CPA - Boccascena

Duvetyne and blackout fabrics

Emanuele Luzzati

Some Masters

RTE - Temporale

Rear-projection films