Jeffrey Marc Buchman’s new production of The Magic Flute presents the story as the imaginative creation of a group of teenagers immersed in a role-playing game, such as Dungeons & Dragons. Stephan Moravski’s scenic designs, implemented by Greg Emetaz on an enormous high-resolution screen at the rear of the stage, create spectacular settings including a wild landscape, a huge interior space featuring an oculus like that of the Pantheon in Rome, and the cathedral-like interior of Sarastro’s temple. Throughout there are recurring images of a spinning icosahedral (20-sided) die of the type used for decision-making in the ongoing game. Robert Wierzel’s lighting served to implement the opera’s theme of contrast between darkness and light. Camilla Haith’s costumes were effective in establishing the identity of each characer – feathers on Papageno’s green outfit and golden robes for Sarastro and his acolytes.
The connection between the audience and the performers lies principally in the ‘everyman’ character of Papageno. Alex DeSocio accomplishes this brilliantly, singing in Volkslieder style to introduce himself (‘Der Vogelfänger bin ich ja’), and later to express his desire for a little wife (‘Ein Mädchen oder Weibchen’). His delivery and timing are superb, both in the translation of Schikaneder’s dialogue and interposed jokes and physical comedy. Frequently addressing us, he emphasizes that Papageno is, after all, an ordinary person.
Other standouts include Sara Kennedy, whose Pamina is vocally radiant and dramatically excellent as she undergoes a transformation from hapless victim to spiritual enlightenment – suffering disappointment along the way, as expressed in the haunting ‘Ach, ich fühl’s’ – and Laura León, who gives a chilling portrayal of Pamina’s mother, the Queen of the Night, tossing off coloratura pyrotechnics with apparent ease.
Ricardo Garcia brings a sweet tenor to Tamino; Andrew W. Potter’s deep, resonant bass and towering presence depict a magisterial Sarastro; David Margulis’s singing, demeanor and costume make Monostatos a convincing villain; and Sydney Dardis is a lilting and charming Papagena. The remainder of the cast all give fine performances, although casting three sopranos as the Spirits results in a rather odd timbre in lieu of the voices of boys, as promised by the Ladies.
Dance plays an important part in this production. Rosa Mercedes’s choreography delightfully depicts the effects of playing the magical instruments – Tamino’s flute charming wild animals and Papageno’s bells turning Monostatos’s henchmen into ballerinas. In the temple, dancer Emily Ricca beautifully represents Isis, one of the Egyptian gods invoked by Sarastro. And the final scene upholds Buchman’s prediction that “Youth dancers will steal the show in the lively scene of Papageno and Papagena’s joyful dream of a big family, bringing infectious charm and laughter to the stage.” The dozen dancing youngsters, who could not have been more than five years old, did indeed bring down the house!Christine Brandes leads a sprightly Overture and brings out the score’s comedy, charm and solemnity. The FGO Chorus is also excellent.
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