This production of Magic Flute marks the first time in opera that all physical scenery has been entirely replaced with video projections.
Pamina stands on a tiny revolving door platform that pivots out of the wall that serves as a projection screen. She is harnessed and buckled into the wall. Monostatos stands on the first level of the stage. All other scenic elements are video projections.
Different color tapes are used for “spike” marks. These spike marks serve as a road map to indicate the position of sets and props and performers. The integration of these elements is critical in a production as intricate as this Magic Flute with nearly one thousand video animation cues.
The yellow “Ts” are overall placements for where the performers stand for many of the projections. There are a number of other different colored spikes for various performer and prop placements.
The video animation is not one complete movie that plays from beginning to end. It is composed of layers of separate clips. All clips are stored on a powerful computer (media server) and the stage manager, while watching the visuals and following the music, “calls” these cues accordingly to a projectionist. The projectionist then pushes a “go” button which executes the cue sequences. All of this is projected through one 18,000 lumen hi-definition projector located in a booth at the back of the orchestra level seating.
The video is mixed live for every performance because every performance is different based on the musical tempi of the conductor, orchestra and singers. Thus no two productions are exactly the same.
While Magic Flute is on stage and show-ready, Falstaff is stored in the wings until the next performance of that production. It takes three hours to completely transform the stage from one of these productions to the other, ready for curtain.