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From:  Michael Eckford <michaelb@y...>
Date:  Mon Aug 14, 2000  5:20 am
Subject:  Re: [vocalist-temporary] Magic Flute Question...Hakan Hagegard


Trevor Allen wrote:

> Why were there parts when all the characters looked
> directly into the camera and the text was either
> above or below them? Were those Mason maxims or
> ideals right there? While I did enjoy his Papageno, I
> did have serious problems with the acting by other
> members of the cast. It wasn't the "natural" acting
> that we listers prize so much...I didn't like the singers looking directly
>
> into the camera so much and during every musical
> interlude, they put an extreme close up on the girl in
> the audience...

Hello Trevor,

It has been several years since I last saw this, but my lingering memories
are most positive. I have a few thoughts on the things you dislike. My
sense is, these and other aspects of the film are Ingmar Bergman's artful
approach to removing the "fourth wall" between performers and audience, or,
if you will, between fantasy and reality. Bergman shows us from the very
beginning that this is a kind of play within a play, a film within an opera,
within a real 18th century opera house, with real, living human beings on
both sides of the curtain and the very real synergy that develops. He gives
us a backstage perspective, showing the wonderful 18th century technology of
stage sets, simulated ocean waves, etc. The singers are also seen backstage
between scenes, as mere fallible human beings like the rest of us doing
everyday human things, then we see them again onstage, expressing the
sublime wonder that is Mozart's work. The singers look directly at us
because Bergman wants to address us, the audience, as directly as possible,
as interactive participants. I was fascinated by the little girl in the
audience. There was a certain "mystical" depth in her presence. Perhaps
she represents the aspiration to be "childlike", to be innocent, joyous and
receptive to spiritual expression... As for the Swedish "subtitles", hmm,
not knowing a word of Swedish, I'm not really sure what's going on there...

I enjoyed the film very much. Like so many of Bergman's films, it is a
visual, aural and generally sensual feast, as opera itself is at its very
best. Pamina is so beautiful in every way, Sarastro has a wonderfully
expressive, deep, noble face, voice and general presence and Hagard's
Papageno is a comic gem. The Queen of the Night and Monostatos make
wonderful representations of "shadow (selves) and darkness"... Great care
obviously went into casting this production. There was also something about
the sound of the Swedish language I enjoyed - it had certain "softness" to
it...

Cheers.

Michael Eckford <michaelb@y...>
http://www.angelfire.com/me/interdependence/


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