Reviewed by James
Karas
The Glimmerglass
Festival’s production of The Magic Flute uses a bold if not
always successful adaptation of Emanuel Schikaneder’s libretto by Kelley Rourke
and is directed by Madeline Sayet.
Tamino, the prince in
the original opera, is a harried office worker in a large city who escapes from
the hustle and bustle of the urban jungle and goes to live in the forest. He
wears a modern suit and most of the other characters are dressed in modern
attire.
Sean Panikkar as Tamino and So Young Park
as Queen of the Night. Photo: Karli Cadel/The Glimmerglass Festival
Tamino runs into some
unusually large and annoying insects and faints. The frightful monster of the
original libretto is dispensed with. He is rescued by Three Ladies who serve the
Queen of the Night. The bird catcher Papageno comes out but looks more like an
employee of the Forestry Department than a wild man who is also funny.
The same changes are
made throughout the production and the result is not always happy. Rourke
brings in modern references and the production tries to make The Magic Flute more approachable and
modern at the cost of the magic which is the whole point of the opera. There
may be some who prefer modernity, of course.
The production is
sung in English and that has the advantage of being understandable and the
drawback of the lyrics not always fitting the music. Mozart composed music for
specific words and if you cannot find an English word with the same number of
syllables and accent the result is awkward. The singer is forced to rush over
the extra syllable of the English word and the listener cringes. The best
solution is the compromise: spoken words in English, arias in German.
Tenor Sean Panikkar
made a good Tamino. He sang well but without as much passion as one would
expect. Are office workers less effusive than mythical princes?
Sean Panikkar as Tamino, Soloman Howard as
Sarastro and Jacqueline Echols as Pamina.
Photo: Karli Cadel/The Glimmerglass
Festival
Baritone Ben Edquist as
Papageno has a fine voice and natural comic talent which seemed not to be put
to best use. Papageno has many opportunities for comic business and
double-takes and for some reason Sayet made little use of them.
Soprano So Young Park
gives a dramatic and vocally accomplished performance as The Queen of the
Night. The production hampers her into singing like an irate mother rather than
an exemplar of regal wrath on a grand scale.
Monostatos is an
interesting character who can be played as ridiculous or pretty nasty as a
potential molester. In this production he registers as a minor nuisance and
tenor Nicholas Nestorak was not given much chance to show what he can do with a
character like that.
Bass Soloman Howard
sang an exceptional Sarastro. He has a commanding voice with stupendous low
notes to give us an impressive High Priest of Isis and Osiris. Rourke calls him
a guide, if memory serves me correctly, which is a significant demotion.
The Glimmerglass
Festival Chorus was placed on the balcony on each side of the stage. They sang
magnificently and their position just above us gave the feeling that their
voices embraced us. Marvelous.
The Glimmerglass
Festival Orchestra was conducted by Carolyn Kuan and there can be no complaints
about their performance.
The conductor, the
director and the libretto adapter of this Magic
Flute are all women. There will come a time, we hope soon, when the gender of
these people in an opera production will be unnoticeable and unimportant. No
doubt there are operas that are directed, conducted and the libretto adapted by
women but I am not aware of any. I need hardly add that the Artistic and
General Director of the Festival is Francesca Zambello.
Let’s hear it for the
Glimmerglass Festival!
_____
The Magic Flute by W. A. Mozart (music) and Emanuel Schikaneder (libretto adapted by
Kelley Rourke) opened on July10 and will be performed twelve times until August 23, 2015 at the
Alice Busch Opera Theater, Cooperstown, New York. Tickets and information (607)
547-0700 or www.glimmerglass.org
No comments:
Post a Comment