The Magic Flute Research Paper

years, creating a magical yet dark universe in which two worlds, daytime and nighttime, collide. (Gauthier, Chagall Colour and Music) The Magic Flute was my favorite costumes out of the four ballets. Long an admirer of Mozart, Chagall enthusiastically accepted the invitation from Rudolph Bing, director of the New York’s Metropolitan Opera, to create a new production of The Magic Flute for the inaugural season of the Met’s new opera house at Lincoln Center. (T. L. Essay) Chagall ‘s sketches and designs for the stage are amazing, it is very easy to see, how is designs could still be used today. When I was at the museum, I was surprise to hear the curator say this was very one’s favorite design by Chagall. The pictures do not it justice, seeing it in

The opening curtain was a tribute to Maurice Ravel, whose music Chagall was fond of. (A. G. Meyer)

Figure 3 Daphnis and Chloe, Chagall, Marc 1959 Los Angeles County Museum of Arts

The original costumes and sets were created by Leon Bakst. The story line was adapted by Michel Fokine from the romance by Longus, with the music by Maurice Ravel-one of his most celebrated scores (Gauthier). It was this cherished vision of Ravel’s that Chagall wished to convey in his Daphnis and Chloe, for he created the costumes, a stage curtain and four painted canvas backdrops. (Gauither)

Finally, we arrived to,Fire Bird the music was composed by Igor Stravinsky, premiered in Paris as part of the 1910 season of the ballet russes to great acclaim. In 1945 Sol Hurok decided to produce the work for the theatre of New York and commissioned Chagall to create the stage designs, and costumes. Chagall’s wife, Bella, had died the year before Hurok approached the artist to designed The Firebird. His work on the ballet marked his re-engagement with the art world and beginning of a new phase in his scenegraphy. (Essay, Los Angeles County Museum of Art wall