‘Magic Flute’ Celebrates Power of Music, Singing
Published in The Post-Journal, Jamestown NY
July 28, 2011
By Robert W. Plyler
For original online article click HERE
CHAUTAUQUA – Chautauqua Opera's 2011 season may have been truncated in service to the great god Mammon, but they started the season with grandeur, and this weekend they're ending it with joy. The second and final production of the season is Mozart's beloved ''The Magic Flute,'' and based upon Wednesday's dress rehearsal, the production is a celebration of splendid singing and the power of music.
Director Jay Lesenger has loaded the production with cultural quotations which young children in the audience responded to happily. Doesn't that killer robot resemble Bender in the Comedy Central cartoon show Futurama? Don't the three spirit guides make you think of Harry Potter?
Many people wouldn't notice, and it never interfered with the plot nor the singing, but it gave another generation a possible gateway into the magic of opera.
Conductor Dean Williamson accompanied sensitively throughout and the Chautauqua Opera Orchestra, despite some splayed attacks in the overture, bounced back and ended powerfully.
There are many possible messages in the opera. Is it an attack on the Austrian government? On the Catholic Church? On women? Well, there are quite a few cautions that women are too emotional and need a man's guidance to be happy with life. I guess that one is in for certain.
The story concerns a young prince who wanders into the kingdom of day and night. Beset by a monster - in this production, a killer robot - Tamino is rescued by the ladies of the Queen of the Night. She begs him to go to the Temple of the Sun and free her daughter, Pamina, who has been captured by Sorastro, the high priest of Isis and Osiris.
She gives him a magic flute which can turn the hearts of people and animals to thoughts of happiness and love, for protection. She sends with him a comic fellow, half human and half bird, named Papageno.
When he arrives at Sorastro's temple, however, Tamino decides that it is the Queen who is evil and the priest has captured Pamina to save her from being corrupted by her mother. Eventually Tamino and Pamina go through terrible trials by fire and water and are found worthy, and are welcomed into the fellowship of the sun.
The cast sang very well, and the principal roles were portrayed by attractive as well as talented artists.
Deborah Selig mastered the role of Pamina. The role is largely set down at the bottom of a soprano's register, yet it rises into the stratosphere on occasion, and she was always true and in control.
Brittany Robinson was a splendid Queen of the Night. She moved elegantly and demonstrated a character who is used to obedience and being in command, and she tossed off the Queen's famous high, high, high notes perfectly and as though they were no challenge whatsoever.
Handsome Vale Rideout was usually impressive as the valiant Tamino, although he experienced a few incidents of vocal trouble and it caused him to lose confidence on occasion. I suspect that by opening night, he'll have that mastered.
The trend in today's opera world is that there must be at least one ''barihunk,'' or good looking baritone with an unusually full and soaring voice, and this production was no exception. Kyle Pfortmiller made the bird man comical and often silly, but when he opened his throat, you knew there was some serious singing going on, even if you were in the back of the balcony.
Designer Steven Capone's set was stark, but visually very effective, and Michael Baumgarten's lighting changed the mood very well, though the set changed only minimally.
I wish had room to tell you everything I liked about the production. You can see and hear it for yourself on Friday or Monday evening at 7:30 p.m. in Norton Hall on the grounds of Chautauqua Institution.