Die Zauberflote – The Magic Flute – is an opera icon. Composed in 1791, three months before his death, it is one of the most performed and most popular works of Wolfgang Amadeus Mozart.
The opera is actually a “singspiel,” meaning it uses spoken as well as sung dialogue. This form allows flexibility in casting players of varying vocal and acting talents. The Glimmerglass Music Festival has taken full advantage of the options, launching its 40th season with a new production of Mozart’s two-act mystical fairytale.
The story revolves around the handsome young prince, Tamino, and his struggles to survive: first, being lost in the forest…then, being persuaded to rescue the Queen of the Night’s kidnapped daughter, Pamina…while subjected to attacks by monsters and villains…and accomplishing tasks required to ultimately gain enlightenment, and Pamina’s love. Assorted subplots and characters embellish the tale. Suffice it to say: light triumphs over darkness, good over evil…and the music is sublime.
Re-setting operas in different eras is a popular approach to staging these days. Ideally, this complements the original…shedding new light, or offering a fresh point of view. Few works have received more new settings than The Magic Flute. Indeed, the English adaptation at Glimmerglass is the fourth translation undertaken by Kelley Rourke. Directed by Madeline Sayet, it is set in the modern world…while paying homage to the natural wonders of the forest, and Native American folklore.
The show opens with a jarring urban scene. Tamino – performed by Sean Panikkar – appears in a business suit, carrying a briefcase and book. As he tries to concentrate, he’s bombarded by a march of people brandishing cell phones, papers and other annoyances. He then morphs – remaining in city attire – into the Tamino of Mozart’s imagination. Panikkar’s smooth tenor tone and confident style help manage this transition, as he begins his journey.
Other key characters appear: three female attendants of the Queen of the Night…
Papageno, a bird-catcher who becomes Tamino’s sidekick… the Queen herself… treacherous Monosantos…lovely Pamina…and the High Priest, Sarastro. The singing – with orchestra conducted by Carolyn Kuan – is excellent. However, the first act’s flow and impact are encumbered by broad direction, and by awkward wording and rhyming in many places.
In Act II, the pace improves. It begins with Sarastro’s “prayer,” which basso Soloman Howard delivers with magnificent sonority and strength. So Young Park pulls off a stellar rendition the “Queen of the Night” aria, soaring splendidly to the highest notes. Jacqueline Echols uses her gorgeous voice and acting skills to portray Pamina, and blends perfectly with Tamino in their duet. Ben Edquist is an affable and zany Papageno. The three youthful Spirits – Joelle Lachance, Samuel Solomon, and Andrew Pulver – add a bright charm to the show.
This is an appealing production that succeeds in many ways. It conveys nature’s majesty and relationship to humanity…nicely circumvents some obscure Masonic symbolism…and ably presents Mozart’s marvelous score.
The Magic Flute plays in repertory on selected dates through August 23 at Glimmerglass Festival, Cooperstown, New York.
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