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William Kentridge: The Magic Flute Opera Programme, softcover, published by First Rand Bank, 2007, 21 cms x 23 cms, illustrated, 43 pages,condition: as new.
"The heart of the production is a series of video projections sometimes the projections are scenery, sometimes an attempt to find a visual equivalent to the music, sometimes they are comments on what is being sung. Projections of course are about the interplay of light and shadow. In cinematic terms, darkness is the time before the movie begins, and the blinding light of Sarastro (and Plato) means the film is finished running through the projector and the clear light has nothing to tell us; it is unenlightenment. If this mixture of shadow-world and light is our only hope for knowledge, we end up in Papageno and Paminas world rather than that of Sarastro. So the critique of Sarastro is in the form of the production, though I am not sure how obvious that is from watching the production. There are some more direct critiques along the way.
JW: Music has been very important to your film work, for example, the great Congolese guitarist Francos haunting soundtrack to Tide Table. How different was the experience when the music chose you rather than the other way round? And how did the music shape your vision? Did you listen to the opera while you worked? And did you feel at any point that Mozarts music for The Magic Flute was telling a different story from the plot about the ambiguities of light and darkness?"
WITH TICKET STUB FOR PERFORMANCE ON 07 OCT 2007 AT THE JOHANNESBURG CIVIC THEATRE.