![]() ![]() I decided to do a projection in this room using a blackboard as a screen – apart from anything else, to see if one could use a black surface rather than the usual white as projection screen. The museum was in an old half-timbered house and one of the rooms – a monks’ refectory – was filled with wood paneling and murals not to be touched by the artist. Some eight months ago, after I had undertaken to do this production of The Magic Flute, I was invited to exhibit in a museum in a small town. Sarastro’s Blackboard: Learning the Flute The notes below were written as I was preparing the first production in 2005. The magic of the opera is in how complex and deep questions can be played out with such a light hand, and in the music, which simply floats to our ears, but which has such a gravitas to it at the same time. There is also a wonderful naïve innocence, not only in Papageno, but through the whole opera. The opera is filled with questions of authority, tyranny, benevolence, with assumptions of knowledge – in other words, questions that are still central to politics today. It is the opera about opera, about the power of music in the service of love. ![]() I have since directed several other operas, but The Magic Flute remains key. The production of The Magic Flute was the first large-scale opera I directed. ![]()
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