Beneath a slowly darkening sky in the heart of the Harz, Mozart's Die Zauberflöte resonated on Friday evening, 8 August, in a production that explored the boundaries of classical music theatre with conviction and imaginative power. The performance was part of the "Harzer Theater- und Konzertsommer" and was realized by the Harztheater – an ensemble that, despite its modest scale, combines an impressive artistic profile with tireless commitment and a multidisciplinary vision.
The Harztheater – small in size, grand in vision
With its 164 permanent staff members, the Harztheater may rank among Germany's smaller theatres, yet it demonstrates exceptional vitality. While many ensembles close their doors during summer, this theatre continues to surprise audiences with a range of productions at diverse locations: from open-air theatres and churches to castles and squares. This geographical distribution not only gives the productions a unique atmosphere but also makes the theatre a crucial cultural player in the region.
A fairy tale of reason, love and trial
Mozart's Die Zauberflöte, composed in 1791 to a libretto by Emanuel Schikaneder, is much more than a fairy-tale opera. Beneath the colourful allegories and magical figures lies a profound quest for truth, love and moral elevation. The young prince Tamino is sent by the Queen of the Night to rescue her daughter Pamina from the hands of the wise Sarastro. With the bird-catcher Papageno at his side, he embarks on a journey full of trials, illusions and revelations. What initially seems black and white – good versus evil – gradually blurs into a complex interplay of light and shadow. Tamino discovers that Sarastro is not the enemy but the guardian of wisdom and purity, and that true love only endures when coupled with insight and self-conquest. Pamina and Tamino together withstand the trials of fire and water, while Papageno, in his own disarming way, celebrates the simplicity and joy of life – and finds his Papagena. Die Zauberflöte is simultaneously a moving love story, a rite de passage and a philosophical parable in music. A work that, like humanity itself, cannot be captured in a single meaning.
A restrained Zauberflöte that enchants all the more
For this summer production, the theatre chose a semi-staged performance – a choice that in the open air could quickly be seen as a limitation. But director Nina Kühner and designer Tom Grasshof turned that limitation into a poetic starting point. The singers were deployed not merely as performers, but also as narrators and choreographic elements, giving the production a layered symbolism. Through refined movement language, suggestive props and thoughtful directorial innovations, the direction brought a unique vision to life. For instance, the theme "Liebe" in the first act was not only sung but also enacted by various couples from the choir – including woman-woman and man-man, a subtle yet clear hint towards inclusivity and contemporary awareness.
Another powerful moment came at the beginning of the second act, when a 'problem' with the lighting occurred. This theatrical break proved to be no accident, but a metaphor for Enlightenment itself: a reflection on the patriarchal nature of Sarastro's temple order, which invokes "Menschlichkeit" yet clearly regards women as inferior. Two sharp moments underscored this visually: women appeared with signs reading "Mensch" and "Human" on stage and circled around Sarastro. When someone added the word "sororité" to a sign reading "égalité", Sarastro demonstratively crossed it out.
The direction did not shy away from humour or irony either: in the Singspiel dialogues, there was play with a Babylonian confusion of tongues, with singers sometimes speaking parts of their text in their native language. An original idea, though it did not always work entirely convincingly – particularly when a singer with a migrant background had to employ an exaggerated accent, which approached caricature.
Vocal brilliance and character depth
Vocally, there was much to enjoy. The absolute crowd favourite was Michael Rapke as Papageno: a born stage personality, perfectly cast as the rogue with a golden heart. He won the audience from his first appearance and also gave poignant shape to his tragicomic side – when he wishes to take his own life. A rare combination of natural talent, vocal quality and acting ability. Nina Koufouchristou enchanted as the Queen of the Night, delivering both her arias with crystal-clear high notes, ease and fire. Her "Der Hölle Rache" was technically flawless and dramatically charged – the kind of performance that not only meets expectations but transcends them.
Bénédicte Herber portrayed Pamina with a pure soprano voice and striking dramatic presence. Her "Ach, ich fühl's" visibly seized the audience's hearts. Together with Papageno, she also sang a resounding duet that suggested these two might have more in common than the libretto implies. Francisco Huerta as Tamino and Gijs Nijkamp as Sarastro each had a fine voice and sang their roles carefully, but came across as somewhat static in the first act. In the second act, both grew, both vocally and dramatically. Tobias Amadeus Schöner made of Monostatos a venomous character, played with flair and spirit. A role that clearly suited him and gave him pleasure.
The choir – and in particular the male choir – stood out for its homogeneity, power and expressivity. Finally, Jessey-Joy Spronk, Bettina Pierags and Regina Pätzer deserve special mention as both the Three Ladies and the Three Boys – recognizable by a simple T-shirt with the role printed on it. This trio stole the show with their infectious interplay, flawless intonation and natural presence. They provided a playful counterweight in an otherwise fairly serious production.
Orchestra and location: seeking balance
Conductor Harutyun Muradyan led the Harzer Sinfoniker with professionalism, although the overture and first act proceeded somewhat slowly and heavily – as if he was still searching for the right dynamics. In the second act there was clearly more fire in the interplay and he managed to build more tension. The orchestra – positioned in the gatehouse of the serene Burchardikloster – did not always play with certainty or pitch stability. The singers stood on a small forestage and were – understandably in the open air – amplified. Although the acoustics of the monastery proved complex, the location created a special atmosphere: an oasis of calm at the edge of the city, where Mozart's music on a sultry summer evening was given room to breathe.
An enchantment beyond the sets
What particularly distinguished this production was the courage not to want to show everything. Instead of visual spectacle, they chose suggestion, simplicity and symbolism. Precisely because of this, the essence of Mozart's masterpiece came to the fore all the more strongly. The open-air conditions did not always make things easy, but this was more than compensated for by imagination, artistic coherence and a palpable love for the music.
Final thoughts
This Zauberflöte by Harztheater was more than a performance: it was an ode to the resilience of music theatre, to the power of limitation and to the indestructible eloquence of Mozart's music. Where larger houses with more resources sometimes get bogged down in excess or technical display, this production showed how imagination and thematic sharpness can create an experience that lingers. The choice for a semi-scenic open-air version required inventiveness, and the director found it in simplicity and symbolism. In doing so, not only were the singers optimally utilized as bearers of the dramaturgy, but thought was also given to the social implications of the work. The subtle commentary on the patriarchal order within Sarastro's temple ritual brought a contemporary reading to the surface, without ever becoming preachy. Mozart's humanism thus gained an extra, feminine layer – an addition that not only felt current, but also sharpened the libretto.
What made this production special was the balance between musical craftsmanship and creative daring. Not everything ran flawlessly – the orchestra had its uncertainties, the acoustics sometimes played tricks – but these imperfections added to the charm of the evening. For what was presented here was no sterile reconstruction of a classic, but a living, searching, groping music theatre that was aware of its time and context. Harztheater proves that quality is not a matter of scale, but of vision. By remaining true to the heart of the work and allowing room for contemporary reflection, they gave the audience a Zauberflöte that was as moving as it was thought-provoking, as accessible as it was layered. And perhaps that is the greatest merit of this evening: that they succeeded in showing Mozart's 'great opera for small people' once again for what it is – a universal story about love, loss, growth and hope.
A performance that sends you home with a smile and a thought. What more can one ask for on a summer evening under the open sky?