Mozart<\/a> was doubtlessly bummed by the loss of his librettist. Who could step into Da Ponte\u2019s shoes? Enter Emanuel Schikaneder, an old friend of Mozart\u2019s who had taken over the directorship of the Theater auf der Weiden, a.k.a. the Freyhaustheater. The impresario enjoyed significant success, staging operas, plays, and singspiel productions.<\/p>\nThe details of how the Mozart\/Schikaneder partnership came to be has been debated among musicologists, and there are not a few myths floating around, one positing that Schikaneder was destitute and couldn\u2019t pay Mozart for his work, so the great composer took on writing a massive opera pro bono. That one is quite dubious; even Mozart had bills to pay. Besides, Schikaneder ran a highly successful troupe, which included Mozart\u2019s sister-in-law, coloratura soprano Josepha Hofer, the originator of the Queen of the Night.<\/p>\n
What\u2019s true and what\u2019s not surrounding “The Magic Flute” is fodder for fun speculation and has been for over two centuries, i.e., Mozart being murdered at the hands of fellow Masons or Mozart murdered by Salieri. Mozart and Schikaneder were both Masons, so if the Brothers were out to silence Mozart for revealing their secrets in operatic form, wouldn\u2019t they take out Schikaneder, too? He wrote the story! No, boringly, Mozart’s death in 1791 was of illness. But before he left, he gave us “The Magic Flute.”<\/p>\n
Kids are the Best Critics<\/h3>\n
While the operas written in collaboration with Da Ponte were huge successes and have forever remained in the repertoire, none have the magic of \u201cFlute.\u201d Departing from the sex farces written for the court, Mozart wrote what is considered the first popular musical\u2014popular both in success and in nature. \u201cFlute\u201d was always meant to be entertainment for all.\u00a0However, that didn\u2019t strip the work of meaning, and here\u2019s where the Masons enter the scene. Mozart\u2019s involvement in the Brotherhood has been commented upon ad nauseam so that the point won\u2019t be belabored in this review. The one aspect that should be pointed out, as it pertains to the Taymor production, in particular, is its use of Masonic symbolism, some of which comes right from the frontispiece of the original printed libretto, complete with circles, squares, triangles, and arches, along with the mysterious shapes akin to hieroglyphics.<\/p>\n
So, there\u2019s the background without too repetition of previous reviews and analyses. Let\u2019s move on and look at the 2022-23 production\u2019s opening night on Friday, December 16.<\/p>\n
There is much to like about the abridged version, even as an adult. The full-length \u201cDie Zauberfl\u00f6te\u201d can be a slog for those new to opera or the opera-curious. Encouraging this cohort to try the art form with the foreshortened version in English is a fantastic introduction. The Met lines up one show-stopping moment after another: from brilliant puppetry featuring enormous birds and dancing bears to three kids (the Three Spirits) suspended from the fly space singing the sweetest melodies. It\u2019s one \u201cWow!\u201d after another.<\/p>\n
Kids are the best critics, and they don\u2019t hold back their thoughts. The production has succeeded when they laugh at Papageno\u2019s antics or ooh and ahh at the giant statues spitting flames from their heads. That\u2019s important because it\u2019s creatively re-thought shows like \u201cFlute,\u201d adapted specifically for children and non-opera-goers that create the next generation of opera fans, or so one hopes. What the kids hear regarding vocal virtuosity shouldn\u2019t be discounted, but they\u2019re not sitting back thinking, \u201cOh, no, the offstage choir was off by a beat.\u201d That\u2019s for others to pick up.<\/p>\n
Strong Work from a Trio of Principals<\/h3>\n
Designed for children or not, Met audiences are due a world-class performance. The show\u2019s opening night did not meet that standard, unfortunately.<\/p>\n
Sometimes opening nights feel like a final dress rehearsal; this one felt like it was far earlier in the rehearsal process. Overall, the show was lifeless and vocally dull. The orchestra was molasses in its tempi. Cues were missed. And except for three of the principals, the singers appeared out of their element, to be paying more attention to producing the right notes than providing their characters with personality.<\/p>\n
In an opera full of Masonic numerology revolving around the number three, it\u2019s ironic that three<\/em> of the principals gave the best performances of the evening. In the role of Princess Pamina, soprano Jo\u00e9lle Harvey had an excellent outing. Her voice is a sparkling coloratura, and she used a full range of dynamics and shading, providing a nuanced performance with personality. Her \u201cAch, ich f\u00fchl\u2019s\u201d was dreamy as she floated the high notes pianissimo, including high Bs. Harvey was playful, joyous, torn, in love, devastated… name the emotion, and Harvey nailed it, making her stage presence captivating and engaging.<\/p>\nSinging opposite Harvey was tenor Ben Bliss as Prince Tamino. Like his counterpart, Bliss came out swinging vocally and dramatically. Bliss\u2019 brassiness lent a certain determined innocence to the character, and his acting was strong. Tamino\u2019s takeaway number, \u201cDies Bildnis ist bezaudbernd sch\u00f6n,\u201d isn\u2019t full of vocal fireworks. Instead, it\u2019s a touching love song full of longing and innocent desire. The aria is one during which you can close your eyes and have a solid understanding of what\u2019s being sung, regardless of language. Like Harvey, Bliss appeared at home on stage and hammed up his frustration at Papageno\u2019s chattiness, cowardice, and willingness to remain an ordinary bird catcher rather than gaining great wisdom.<\/p>\n
In the role of the lovable bird man, Joshua Hopkins had a wonderful sense of comedic timing, played to the crowd, and as is typical, drew the most laughter outside of Monostatos (tenor Rowell Rosel) opening his bat-winged costume and flashing his comically hideous figure to scare away foes.<\/p>\n
Harvey, Bliss, and Hopkins were the glue that held the shaky performance from falling apart.<\/p>\n
The Struggles of a Queen and a Priest<\/h3>\n
Some may disagree, but the show’s true star is the Queen of the Night. She has the barn burner arias with which a coloratura can put jaws on the floor. It\u2019s painful to say, but Alessandra Olczyk muddled her way through both \u201cZum Leiden\u201d and \u201cDer H\u00f6lle Rache.\u201d She did not appear or sound ready for one of the highest-profile role in the opera. Olczyk\u2019s movements were stilted and unexciting as she focused on the notes, looking too afraid to move. Queens of the Night don\u2019t park and bark, but that\u2019s what the audience got. Vocally, Olczyk was shaky\u2014unstable\u2014which was frightening knowing both arias\u2019 demanding jumps, runs, and high notes. The mommy dearest of opera was missing in action, and the wicked vitality, menace, and over-the-top drama fell short. No doubt, Olczyk has big shoes to fill, and while the performance was her Met debut, she has sung the role at big-name houses in Germany and her native Poland. When all was sung and done, she still drew the loudest applause at curtain call, though the audience response to her arias was tepid.<\/p>\n
Mozart likes to play with extremes. \u201cDer H\u00f6lle Rache\u201d tops out with an F6, while Sarastro bottoms out with an F2 in \u201cIsis and Osiris.\u201d These are generally the highest and lowest notes a soprano and bass are asked to sing, respectively. High notes are dangerous, and low notes are equally so. Basso profundos performing Sarastro should shake the floor. However, an unfortunate truth about being a bass is that some roles\u2014Sarastro, one of them\u2014require vocal maturity. This is not to the exclusion of younger basses, who do can navigate the deepest vocal trenches in music, but those are not the norm.<\/p>\n
Soloman Howard is a great bass who has had a solid Met Opera career, but he, like Olczyk, came across as unsure and concerned about the notes. And like Olczyk, the role isn\u2019t new to him, but the timidity stripped the booming character of its thunder gravity. The final F2 of \u201cO Isis un Osiris\u201d simply wasn\u2019t there, and the maestro, Duncan Ward, brought the dynamics up to cover the singer\u2019s exposure.<\/p>\n
Why the Queen and Sarastro went vocally sideways is anyone\u2019s guess, but when those two characters underperform, the opera pays dearly.<\/p>\n
Problems in the Pit<\/h2>\n
Turing attention to the band under Duncan Ward, it did not have a stellar outing. Ward\u2019s pacing was slow, perhaps because he knew a few of his soloists were struggling; that’s pure speculation, of course, but he had to have known. Ward\u2019s elegant style is full of small, refined, and precise gestures. Yet, somehow the offstage chorus fell behind, and Olczyk and Howard kept a noticeably tight eye on the maestro as if seeking guidance and adding to the rehearsal-like feel. This wasn\u2019t the case with Harvey, Bliss, or Hopkins.<\/p>\n
The orchestra came across as half-hearted. Mozart wrote some of his most thrilling music for \u201cFlute,” but it played too slowly, soft, and lacked punch. For example, the second bar of \u00a0\u201cDer H\u00f6lle Rache\u201d has a lightning fast four 32nd grace notes that lead to the sforzando\u00a0orchestra hit before the Queen launches into her rage. The hit sounded squishy and uncertain. The tremolo strings in the first bar were ill-timed and seemed to catch Olczyk by surprise, which, right off the bat, warned of what lay ahead. From the seats, it sounded like a “let’s try that again” moment, but there are no do-overs in live musical theater except when a singer burns the place down and the audience demands an encore.<\/p>\n
One aspect of the Met\u2019s adaptation that has never sat well is the exclusion of the Overture; it\u2019s a fantastic piece of music and gets everyone\u2019s blood pumping. Remove it from the opera, and the orchestra loses its showpiece as the music goes right into \u201cZu Hilfe!\u201d when the curtain opens. To exclude the Overture is a bit of an insult to the audience. Is it thought too long? A six-minute pop song is long. A six-minute overture, not so much. If the fear is that the kids will grow antsy because nothing is happening on stage, there’s been a failure of imagination. The Met production of \u201cCos\u00ec fan tutte\u201d uses the overture to introduce a coterie of performers\u2014a fire eater, a sword swallower, a snake handler, and a bearded lady, among other midway artists. Indeed, the Met, full of amazing creatives and a brilliant ballet corps, could fill \u201cFlute\u201d Overture with spellbinding artistry.<\/p>\n
Speaking of the ballet corps, they never fail to charm and delight as they strut and dance flamingo-like around Papageno. Their appearance is always a highlight.<\/p>\n
As mentioned earlier, the Taymor set isn\u2019t the wonder it used to be, and some costumes are inscrutable. Sarastro and Tamino dress in quasi-Kabuki outfits while members of the Brotherhood look like Dada artist Hugo Ball reading \u201cKarawane\u201d at Cabaret Voltaire. Meanwhile, Papageno wears a backward baseball cap with a bird bill. Though lacking in sartorial consistency, the costuming helps keep the opera in the realm of fantasy.<\/p>\n
Taymor\u2019s \u201cFlute\u201d is known for its mind-boggling puppetry. And no matter how many times you see the show, watching three very young singers travel slowly across the length of the stage while sitting on a trapeze at a dizzying height is breathtaking.<\/p>\n
The Met is premiering a new production of \u201cDie Zauberfl\u00f6te\u201d by Simon McBurney at the end of the season. Will it replace Taymor\u2019s as its family production? That\u2019s to be determined, but there\u2019s a high degree of whimsy in the current show, and maybe, for that reason, it should remain the Met\u2019s holiday \u201cFlute\u201d adaptation of choice.<\/p>\n","protected":false},"excerpt":{"rendered":"
(Photo: Marty Sohl \/ Met Opera) During the holiday season, the Met\u2019s annual presentation of a family-friendly, abridged version of Mozart\u2019s \u201cThe Magic Flute\u201d sung in English is\u00a0a treat for the young and the young-at-heart. The show\u2019s runtime is shy of two hours, and the Julie Taymor production, though getting a bit dated, offers plenty of spectacle and goofiness to {…}<\/p>\n","protected":false},"author":74,"featured_media":73139,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8,73],"tags":[8902,308,18019,2762,3301,38,10387,2046,189],"class_list":["post-73135","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","category-stage-reviews","tag-aleksandra-olcyzk","tag-ben-bliss","tag-duncan-ward","tag-joelle-harvey","tag-joshua-hopkins","tag-metropolitan-opera","tag-rodell-rosel","tag-soloman-howard","tag-the-magic-flute"],"acf":[],"yoast_head":"\n
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