The Magic Flute has a Double aspect: first of all the fairylike, which carries us away to the pure poetry of childhood or genius; secondly and above all it is a rigorous and inspired ritual. This combination may at first seem a little strange, but when it is seen that it functions perfectly, altering scenes, magical to comical with a profound philosophic message renders us more susceptible to grasp the symbolism, not alone with our minds, but with our entire being.

THE DANCE is above all a ritual; dance and rite have always been inseparable in all traditional civilizations, the priest danced, the sorcerers, the shamans danced, the pharaoh as well as King David and prophet danced before the images of their divinities. Through gesture (MUDRA) the ritual takes effect.

On the other hand, THE BALLET as has been known by our occidental civilization since its birth at the end of the 16th century integrates easily with the fairylike, allegorical and fantastical story. Many ballets draw their titles from fairy tales.

For this reason, it seems evident to me that the dancers could interpret Mozart's subtle thought, and that a choreographic score carefully interlaced between the music would be more efficacious in presenting the fairylike and ritualistic aspects of this piece.

It may seem a strange undertaking to have the entire opera choreographed, but on one hand (and I have often experimented) the human voice is the best support for the dance, and on the other hand the choreographic movement transcends the realism and prolongs the subtle thought of the musical phrase.

In staging The Magic Flute, there has been no attempt to superimpose anything to this work of perfection, neither the slightest personal intention nor added message, but rather to listen scrupulously and lovingly to the score, to read the libretto and interpret.

I am often asked what the theme of the Flute is. I will finish by quoting Jaques Challey who analyzed the theme in his magistral publication on Mozart's opera; "The basic theme, which we are now beginning to understand, is the conflict between the two sexes, a conflict which resolves itself in the mystery of the couple. Man and women must first find themselves, then, having found themselves transcend their original condition by undergoing a series of ordeals which renders them worthy of their new state."