Magic Flute Light Download |WORK|

This opera used minimalistic scenery. The architectural facade and spire of S.Ivo provided the setting. One of the functions of the lighting design was to create a variety of environments which evoked the various settings within the opera. These include groves of trees, palaces, temples, and caves. I uplit the architecture in various colors and styles to suggest interiors and buildings. I used a variety of tree gobos for the wilderness and grove settings. The caves of water and fire were produced with a combination of textured gobos and animated ripple effects playing on the S.Ivo facade. The video captures the animation rather poorly, alas.

We recently discovered a new favorite restaurant of ours, what we like to call a little gem in the big city. The Magic Flute is a lively Italian restaurant with outdoor patio seating, which is rare in San Francisco. When we dine there for dinner, we love to sit outside under the twinkling lights in the back patio, which is decorated to give a romantic backyard garden feel. On the weekends, they are becoming quite popular for their brunch menu.

Magic Flute Light Download

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All the work on sound stages was done at Bavaria Film Studios. Our large stage was Studio 9, which is the second largest studio on site and where we shot the most. Then we used Studio 2 for the quarters of a character in the film called Monostatos, where we had a lot of fun creating various lighting effects and quick mood changes. We also had Studio 8 for smaller interior sets.

The marketplace set was then recycled for the Queen of the Night's castle. The biggest challenge for that one was making the fire appear blue. This fire color could not be produced with special effects and so we made all the lights this color. It was a gel battle, even if we were able to keep it within limits with our full-spectrum lights. Interestingly, our Astera AX10 compared to gelled 2 kWs hit the output. Full spectrum rocks!

I guess we must have been the first production in the world to use these series BrikLoks. We had around 90 in action at peak times, always trying to maximize versatility in order to keep our lighting package as slim as possible. The BrikLoks ended up being our go-to weapon and it was fascinating to see how quickly my electricians got used to constantly reconfiguring them. We used them in a variety of modes: as a 4 kW replacement in an S360 Yoke; as a strip light made up of 30 units; directly or through a sail; as a small row of four units for window beams, or of eight for backlight; and even individually as an up light. From my point of view, setups using eight or more of the modular units are the best area of application, and we tended to use the Advanced CCT+ mode.

We did also shoot on location for this film, and that can bring its own challenges. For example, the scene where a giant serpent appears was shot at a location that was around 5 km away from the lighting truck.

The only advice I can give my young colleagues is not to listen too much to us old hands, since our job profile has changed so much! Joking aside, it is immensely important today to remain technologically up to date and to do a lot more homework about fixtures, light control, and networks than we had to in the past. But one thing hasn't changed and remains important: listening to what creative people want and supporting them in realizing their vision.

With the gift of a magic flute and magic bells, as well as the light-hearted assistance of the bird-catcher, Papageno, Tamino sets off on his dangerous quest. However, he soon discovers that nothing, not even Day and Night, is quite as it first appears.

Here, the mythical creature finds its embodiment in Papageno, who is himself more bird than bird-catcher. As a buffoon-like character who is clumsy and devious in equal measure, he delights the audience with his unpretentious folksy arias and is the source of much of the opera's heartwarming comedy.

While it initially appears as a magic farce, in the course of the action The Magic Flute increasingly turns to the proclamation of Masonic ideals, focussing on the duality of Enlightenment and obscurantism and highlighting elements of true heroism.

In the midst of their trials, the young lovers Tamino and Pamina are caught between the forces of the feminine and the masculine. The feminine force, the Queen of the Night, represents the moon, darkness, negativity, irrationality and chaos while her counterpart, the male Sarastro, stands for the sun, light, positivity, rationality and order.

The ending is also very strange, involving a sort of three-stage initiation. The first is a trial of temptation from a sexy trio of female singers, caressing hands that wander teasingly just out of frame. Then a trial of silence. Then a strange trial of faith using the flute to walk through fiery furnace like a hell, complete with writing white-clad dancers, then a weird passage through a queasy green-lit forest of hands. This last section is a more mysterious tone, differing from the lightness of previous scenes. This change in tone grabbed my attention and came just as the film was beginning to outlast its welcome.

It was in direct conjunction with my obsession over The Magic Flute opera that I decided, as a budding Queen of the Night, that my weapon of choice would be, firstly, my beauty, but also the flute. And so when we were instructed to pick instruments for band in 4th grade, I knew what I wanted. (And what I wanted was actually a piccolo, but I suspect this was too powerful a choice, and so I was relegated to the flute instead.)

Whereas most flutes are long, straight rods of metal, mine was bent at the neck like a candy cane, so that the entire instrument hair-pinned. The reasoning behind this type of flute is purely physical; certain players might be too small to hold the instrument up straight. This is what I told people, but it was a lie. The real reason I went with the bent flute was twofold:

And secondly, I suspect that my choice of a structurally straight instrument defied some sort of carnal gayness within me, and so I automatically looked for a way to make my flute even gayer. Which I did by playing it with as weak wrists as possible.

The magic of the opera is in how complex and deep questions can be played out with such a light hand, and in the music, which simply floats to our ears, but which has such a gravitas to it at the same time.

This has come into the production in two significant ways. First was the broad metaphor of positive and negative, which in the opera maps onto the conflict between the Queen of the Night and the high priest of light, Sarastro. The references throughout the opera of turning darkness into light, of the light of the sun banishing the night, acted as confirmation of something discovered rather than an idea pursued.

Already Mozart's The Magic Flute apparently makes references to the moods of its time, that was influenced by the Enlightenment and a revolutionary spirit. It stands to reason that the Queen of the Night as monarch represents the old values of the Dark Ages, where the church and nobility possessed an undisputed supremacy; besides Sarastro and his brotherhood of the sun realm represent the Enlightenment and a civil order. But neither the system of the Queen is completely condemned, nor Sarastro's civil brotherhood is uncritical glorified. So the night realm produces the jolly bon vivant Papageno, while the sun realm creates the tortured soul Monostatos. Similar to the play also in reality old and new values tend to claim absoluteness, but are not absolutely right or wrong; like the civil leadership of the French Revolution turned into The Terror. Goethe could meant such value conflicts by the dialogue of the two guardians as they talk about the human straying between light and darkness, between mania and mania.[8] Furthermore, Goethe's Magic Flute II shows numerous motifs of syntheses (like Papagena and Papageno have to use working and activity as well as enjoyment and calm to get children),[9] that seems to suggest a use of both systems, instead of becoming absolutely obsessed by one.

Someone gives the princess a knife, asking her to kill someone. We hear a reference of someone having his throat cut. A magic music box makes people dance until they fall down, exhausted and unconscious.

Follows Marie, as she makes a wish and becomes the same size as her toy nutcracker, who is really a prince under a spell, and they must travel to the magical Land of Flowers to save the world from the rat people.

Papageno tries to poison himself but is saved by the three spirits, who remind him that if he uses his magic bells he will find true happiness. When he plays the bells, Papagena appears and the two start making family plans.The Queen of the Night, her three ladies, and Monostatos attack the temple but are defeated and banished. Sarastro blesses Pamina and Tamino as all join in hailing the triumph of courage, virtue, and wisdom.

TicketsThe Boulder Opera Company presents a family-friendly performance of the iconic Magic Flute by Mozart. Enter the magical world where Prince Tamino is confronted with strange and fantastical creatures. Tamino meets his friend Papageno and the two of them set off on an adventure to save the beautiful Pamina from her evil mother The Queen of the Night. They join forces with The King of the light Sarastro. Will they be stopped by the evil three ladies who work for the Queen? Will the young Spirits be able to aid them on their journey of heroism? Can Papageno finally find his Papagena?

To help them on their way, Tamino and Papageno are given musical instruments enhanced with magical powers. And these prove invaluable. The travellers have a series of trials and tribulations to conquer to find a deeper understanding of true love and happiness.

The Three Spirits bring Tamino to the Temples of Wisdom, Reason and Nature. The Speaker enters from the Temple of Wisdom and informs him that the Queen of the Night is the villain, not Sarastro, as he will understand when he enters the temple. He leaves in search of Papageno, who, with the help of his magic chimes, saves Pamina once more from Monostatos. Sarastro enters and tells Pamina he cannot let her return to her mother. Tamino is brought in and he and Pamina joyfully meet at last. Tamino and Papageno prepare to be tested for admittance to the brotherhood. 17dc91bb1f