Bergman: The Magic Flute

by Margaret Henry

Although of the same opera, Ingmar Bergman's 1973 version of The Magic Flute and August Everding's 1983 version exhibited many differences. Much of the plot of the operas were were comparable, but many details and scenes were different. Although some of these inconsistencies may seem menial, considering these versions are of the same opera, any change is worth noticing. Each director includes his own style and personality, although suddelly in his performances. The time period of the director also has an effect on the production. Therefore different versions are going to have some differences.

In Bergman's version of The Magic Flute , the setting is like that of a movie, rather than an onstage production of an opera. Although some of the opera does take place on stage, there are so many up close camera shots and made for movie effects, that one loses the feel of the opera, and it becomes more like a movie. An example of this is when Tamino looks at Pamina in the picture frame. The camera shows the frame in Tamino's hand, yet the picture is not a photograph, but an action. Pamina moves around in the frame. I suppose this is Tamino imagining her in real life, but either way this special effect does not occur in Bergman's pure stage setting.

Another instance in which Bergman's production has an older feel is that the performers actually change the setting during the scene. After the audience first sees the castle, instead of the stage lights dimming and then changing the setting, Sarastro's slaves roll up the back drop for a different scenery. Another example of this older view is that in Bergman's version the servants of Sarastro are supposed to be black slaves, but instead of having black performers, they are white singers painted black. One would think that this would be a little too politically incorrect. In Everding's however, the servants are jokers and seem much more appropriate, especially since the queen had intended to give her daughter away to the slave. During the time this opera was written, interracial relationships were unheard of.

Everding's 1983 version seems more recent and modern. For instance, in Bergman's variation, the three fairy women who kill the dragon for Tamino use spears. In Everding's the women use guns, a much more modern approach to killing the beast. Because only ten years separates the two productions, I think that this difference is just the directors style.

The queen's character in the two productions, although play the same role, have a different disposition. In Bergman's production, the queen is a much older, colder looking woman. She gives the opera more of an older feel. Everding's queen is younger and more sympathetic character. She can relate to Tamino better and seems to treat him more of an equal rather than an underling. These characteristics really have an effect on the characters. Everding's queen does not come across as heartless, and therefore does not play an evil character as well.


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