The Magic Flute
That perennial favorite of most opera houses, Mozart’s ‘The Magic Flute’, is getting a gorgeous production at the LA Opera. Though it was last performed here in 1993, this production, staged by Stanley M. Garner (based on Peter Hall’s original production) seems fresh, light as one of Papageno’s feathers, and very welcome in these trying times. We will get plenty of the heavy stuff when the La Opera begins its first Ring Cycle later in the season. For now this opera, which celebrates hope, love, responsibility, and imagination, seems in tune with the festivities of Obama’s inauguration.
I had seen the now famous Julie Tamor production from the Metropolitan Opera when it was broadcast last season. Tamor, of course gave us a delightful production, but this production designed by that great illustrator Gerald Scarfe, more than holds its own. The staging is simpler mainly die to spatial limitations imposed by the set but the result is simple and lets us concentrate on that glorious score and Scarfe’s original and enchanting designs. I felt like the opera was much more of a fairy tale uncomplicated but in wonderful color.
The singing was also outstanding featuring many new (to LA Opera) singers but included a few veterans of Tamor’s production. Mathew Polenzani was the clear voiced Tamino. His mate was the beautiful Marie Arnet who sang with great clarity and expressiveness. L’ubica Vargicova handled the vocal gymnastics of the Queen of the night with dexterity. Nathan Gunn who was in the Met. production as well, gave a well-rounded interpretation of Papageno that was both silly and poignant. His other half, Papagena, was charmingly played by Amanda Squitieri. Sarastro was well sung by Gunther Groissbock. They three Ladies were played with verve and humor by Tamara Wilson Laureen McNeese, and Beth Clayton but they also sang well. Greg Fedderly was a riot as Momostatos.‘The Magic Flute’ plays through January 25th (with alternating casts) at the La Opera ( www.losangelesopera.com).