Geheimmission Zauberflöte

Libretto by Margot Mezgolich, after Mozart/Schikaneder (G)

The concept of an interactive promenade-style opera for children, parents and opera lovers at the Vienna State Opera began in 2020 with Gerald Resch’s Die Entführung ins Zauberreich, based on Mozart’s The Abduction from the Seraglio (Die Entführung aus dem Serail). This was followed in 2023 by Das verfluchte Geisterschiff, inspired by Wagner’s The Flying Dutchman (Der fliegende Holländer). The series now continues with Gerald Resch’s new promenade opera Secret Mission: The Magic Flute (Geheimmission Zauberflöte), which will be given its world premiere on 10 October 2026.

Together with director Nina Blum and librettist Margot Mezgolich, the successful Austrian composer presents The Magic Flute in a tailor-made version for families, featuring surprising plot-twists and fun alternative characters, alongside a host of other exciting new ideas.

While Mozart’s The Magic Flute remains the starting point, the story is told from a completely new perspective. One innovation, for example, is that a bird from Papageno’s cage accompanies the children through the story as narrator. Pamina also takes on a more active role throughout, seeking permission from Sarastro to undergo the trials intended for her beloved, Tamino, to reclaim the eternal moonstone for her mother - since Sarastro stole the moonstone, the Queen has been condemned to live in darkness. Through these changes, Resch and Blum aim encourage empathy and reflection by bringing the characters’ motivations closer to the minds of the young audience of today. “What are we willing to do to fulfil our heart's desires?” asks Nina Blum; in their version, the trials are overcome not through the aid of magical instruments, but through the power of community.

As before, the musicians, singers and audience move throughout the Vienna State Opera building during this new ‘roving mystery’ - or “Wanderkrimi” - as Blum calls Secret Mission: The Magic Flute. Despite all the changes and Resch’s new arrangements of the arias, the characters remain closely connected to Mozart and Schikaneder’s original. Another brilliant touch is that Papageno, the bird-catcher, is accompanied solely by an accordion. “This allows us to highlight his folk-inspired side”, comments Nina Blum, “and evokes Schikaneder’s theatrical tradition, in which Papageno was conceived as an immediate, comic figure designed to appeal to all audiences.” Another surprise is that the famous duet “Bei Männern, welche Liebe fühlen”, originally sung by Pamina and Papageno, is performed in Resch and Blum’s version by the true lovers Pamina and Tamino. At the Vienna premiere, the roles of Papageno and Papagena are sung by two performers who have both achieved success in the world of musical theatre.

The dialogue has been completely rewritten by librettist Margit Mezgolich. It was important to the creative team to find a language that is lively and engaging for children while telling an exciting story. Throughout the performance, the audience is repeatedly and actively involved in the unfolding action.
Helmut Peters