If in the marvels of the voice itself, there is drama, there is no need to illustrate drama. If singing is a gesture, all that is needed is to place singing in relation to movement and space. If music already expresses all the emotion of drama, it is enough to make visible that which is born from music. A psyche in a voice, a voice in a body, a body in a space, a space in time.
What are we looking for? Man’s soul pierced (inhabited) by music. We have opted for highlighting the magic nature of The Magic Flute, where the planes of fantasy, comedy and philosophy, develop simultaneously, placing it in that mysterious human zone that is the dream. The main component of this piece is dreams, and the story unfolds precisely there, in that place where faces appear almost imperceptible, gestures almost intangible (paradoxically in dreams we do not hear voices, but in opera, the voice is what is most clear and concrete). In the characters’ journey, in The Magic Flute, a transformation of the Self takes place, a transfiguration, just like in dreams.
The magic flute 2003