The Magic Flute at Nationaltheater Mannheim

Mozart (front) last work is also his most enigmatic maybe. It starts with the run and fainting Tamino, who, when he wakes up again - is sent to a varied and contradictory of initiation - triggered by the image of Pamina. Accompanied by a magic flute and three boys, to protect him, he walks between life and the threat represented by Papageno pragmatic life mastery on a thin line - looking for love. Tossed to and fro between the extreme emotional world of the Queen of the Night and Sarastro tugendheischenden secret brotherhood finds Tamino - led by Pamina - his way into manhood, but at the price that the "flaming star" Queen is shattered.

Charged with numerous symbols change the play, which is told in a succession of diverse images and using spectacular theatrical agent in the middle of the perspective and reflected in the upheavals and unrest of its creation time. As a "puzzle picture" of the dialectic of enlightenment and demagoguery (Ivan Nagel) as "company design between revolution and restoration" and "uncompromising uncovering the contradictions of life" with a critical utopia potential (Wolfgang Willaschek) or as united through music »mixtum compositum" of humanist manifesto and "machine-comedy" (StefanKunze) calls Mozart's Magic Flute repeatedly out new scenic interpretations.