The magic flute

"It was also a pleasure to watch this three-hour evening. At last, no tortured attempt to reinterpret the 'Magic Flute' yet again, but a celebration of life at its end. (...) The way the soloists, above all Martin Platz as Tamino, Samuel Hesselhorn as Papageno and Sophia Theodorides as the Queen of the Night, as well as the chorus and conductor Roland Böer, carried this unusual interpretation was marvellous. (...) Remarkable in every respect, this first opera work by the choreographer [Goyo Montero]."

Peter Jungblut, Bayerischer Rundfunk

"(...)the production is a colourful summer fairy tale, with verve, loving attention to detail, wit and above all: it makes you happy. Dem Staatstheater Nürnberg ist damit ein großer Coup im Gerangel um das ausgefeilteste Regietheater gelungen. Das Publikum jubelt bereits, während das Stück noch läuft.“

Sabine Künzel, Donaukurier

"Although Mozart's music consists of individual numbers, Böer moulds them masterfully into the organic arc of a human condition, quite rough and edgy in sound, historically informed, so to speak, but always with room for the splendour, the tenderness or simply the whole beauty of the world. (...) The original dialogues of this Singspiel are streamlined, yet original role portraits succeed: the Birdcatcher is a lively string-puller, highly eloquent in song, although often condemned to silence; an intrinsically comical, but clever character. Samuel Hasselhorn performs this role excellently and with his exquisite baritone, making Papageno the most likeable character in this performance.“

Thomas Heinold, Nürnberger Nachrichten

"You can simply abandon yourself to the evening. Its power of fascination, its spectacular effects, which are gained from reduction. (...) Böer and the Staatsphilharmonie Nuremberg are not out to be fussy either. His Mozart is al dente, high-speed, with occasional barbs and yet, precisely in its depth of focus, allows insights into the composer's workshop of wonders. (...) Younger audiences in particular are likely to respond (...). Montero's production develops a cross-generational effect."

Markus Thiel, Münchner Merkur

"You can tell from the production that a ballet director was in charge. With his accurate choreography for the singers and chorus, he creates dreamlike images that are engraved in the mind. Costume designer Salvador Mateu Andujar plays an important part in this with his preference for opulent sculpture and bold colours, as if from a Frida Kahlo painting. Mozart's most popular opera has almost never been so enchanting, so different. A must-see."

Hans-Peter Siebenhaar, Focus Money