—Its appealing, multidisciplinary team of artists includes singer Julieta Venegas, composer Horacio Salinas and playwright Guillermo Calderón, who have all brought their own personal and cultural hallmarks to the piece. That’s why La flauta mágica/Die Zauberflöte’s music and story undeniably offer a glimpse of Chilean and Latin American culture.
—It’s a play that challenges the conventions of traditional opera, daring to innovate as far as its musical score, story and staging are concerned. It’s a reinterpretation that, for many, is considered ‘adventurous’.
—It’s a good opportunity to see Antú Romero’s work again in Chile, after his participation at Santiago a Mil in 2018 with a rule-breaking version of La Odisea. Romero is one of the key figures on the new German theater scene and a need-to-know director.
—The Magic Flute: Premiered in 1791 and considered Mozart’s most popular opera, this piece combines German folklore, fantasy and a story that is open to multiple interpretations, running the gauntlet from fairytale to a story full of Masonic symbols, since both Mozart and libretto writer Emmanuel Schikaneder were Masons. It tells the story of Tamino, a prince who’s looking for love, who must rescue Pamina, daughter of the Queen of the Night and a sorcerer called Sarastro. As well as the version that will be premiered at Santiago a Mil, the Santiago Municipal Theater will also put on another version in 2020.
—Emmanuel Schikaneder: Author of The Magic Flute’s libretto, this Masonic actor, playwright and theater producer was a great friend of Mozart. It’s said he was bankrupt when Mozart asked him to write the story for The Magic Flute, but this musical composer knew would be a commercial success.