Author and Editor

EXAMPLE:
Some considerations and techniques that might be used in staging the opening scene of "The Magic Flute," with an English version of the text.

For the Opera Workshop Director, any scene that gives three women a good role is a boon. The opening scene of "The Magic Flute" is an especially good one, and it can be done either from the entry of the Ladies, with a recumbant man, or, if a suitable tenor is available, complete.

Several things have to be considered, principally 'what to do about the dragon.' This dragon, which is supposedly about to kill Tamino, can be a theatrical embarassment, expensive to build, and something more likely to produce laughter than the terror that Tamino evinces. Furthermore, when dead, it will probably be in the way of all subsequent action. I therefore prefer to leave it off stage, although a little smoke and fire coming from Off UR can help the illusion.

Then there is the question of Tamino's initial behavior, relative to his station in life. Tamino is a noble and the hero of the story, but our first impression is of weakness, not an attribute usually associated with nobility. We must therefore show Tamino putting up a good fight, and fainting only after tremendous exertion. In the score, he enters just in time to sing, but this ignores a great opportunity to show his courageous defense. Mozart's introduction is intensely descriptive, so much is served by bringing him on at the beginning and showing in pantomime his overwhelming struggle. Therefore, combining the desire to solve Tamino's dramatic problems with Mozart's music, I suggest the following activities:

There follow suggestions for blocking and discussion of techinques which could be applied to many other scenes.

Anthony Addison · Phone: (440)446-9832 · E-Mail: info@anthonyaddison.com