Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

22 Oct 2004

Four Reviews of Die Zauberflöte at the Met

Julie Taymor -- and Mozart Too By HEIDI WALESON [Wall Street Journal] October 14, 2004; Page D7 New York The Metropolitan Opera usually showcases singers, not star directors, but the Met's newest production is most definitely the "Julie Taymor 'Zauberflote'"...

Julie Taymor -- and Mozart Too

By HEIDI WALESON [Wall Street Journal]
October 14, 2004; Page D7

New York

The Metropolitan Opera usually showcases singers, not star directors, but the Met's newest production is most definitely the "Julie Taymor 'Zauberflote'" ("Magic Flute"). Ms. Taymor is best known for "The Lion King," which has been running for almost seven years on Broadway, but her startlingly original visual imagination also worked brilliantly with Mozart, illuminating this complex work without overpowering it.

With set designer George Tsypin and lighting designer Donald Holder, Ms. Taymor created a compelling universe for "Flute." Mozart's last opera, with sung and spoken text by Emanuel Schikaneder, mixes grandeur, pathos and whimsy. Unlike many directors, who often slight one for the others, Ms. Taymor succeeded in making all those elements work together. She understood that the grand Enlightenment scheme of the opera is about the journey from darkness into wisdom. In the ideal union of Tamino and Pamina, sense and sensibility temper and strengthen each other. Ms. Taymor's nonrepresentational world, explored through creative combinations of materials (glass, steel and billowing silks) and light made those themes clear while maintaining the humanity of the characters.

The production exploited the Met's sophisticated stage machinery to create the fears and confusions of that journey, for the path to enlightenment is not easy. Four large transparent squares, each with a different geometric opening (a triangle, a square, a large circle and a small one) at the center, first appeared independently, circling on the stage turntable. But as Tamino, Papageno and Pamina stumbled along, they moved to create jagged angles and dizzying kaleidoscopic vistas. "Where am I?" the characters often asked, and in this world of hard edges, strange reflections, darkness and no recognizable landmarks, it was no wonder. No wonder, also, that when they found each other they clung together, only to be torn apart again. Ms. Taymor even captured the terror of the final trials of fire and water with two proscenium-high figures, their helmets filled with flame, that guarded the portal.

[Remainder of article here (subscription to WSJ Online required)]


Die Zauberflöte, Metropolitan Opera, New York

By Martin Bernheimer [Financial Times]
Published: October 13 2004 03:00 | Last updated: October 13 2004 03:00

Graceful geese swoop through the black sky. The baddest of bears prance about the proscenium with surreal bonhomie. Exerting stylised menace, a collapsible serpent stalks the puny hero. Blissful storks traipse the boards sur les pointes. A flying lobster snaps its claws at a would-be devourer.

The basic set, constantly evolving and revolving, evokes a pyramid locked in a gigantic ice-cube. It's a fantastic show. It's Julie Taymor's Die Zauberflöte. It may not be Mozart's.

With her inspired accomplices (set designer George Tsypin, lighting director Donald Holder, puppet-master Michael Curry, choreographer Mark Dendy), Taymor has left no turn unstoned in her effort to make the old operatic fable look nifty. She invokes all manner of scenic mumbo-jumbo to tell the tale on her own cleverly picturesque terms.

[Remainder of article here (subscription to Financial Times Online required)]


Taymor's 'Flute' is utterly enchanting

By HOWARD KISSEL [New York Daily News]
DAILY NEWS CRITIC
Monday, October 11th, 2004

Although Mozart's "Magic Flute" is one of the most sublime operas ever composed, in its own time it was most definitely part of Show Business.

That's why it was a brilliant idea to have Julie Taymor (Broadway's "The Lion King") direct and design a sorely needed new production for the Met. It opened Friday night and has a performance tonight.

In contrast with other opera directors, Taymor's soaring imagination is always at the service of the composer. Her production captures the grandeur of the work and is also, hands down, the best show in town.

Unlike other Mozart masterpieces, which were written to be performed at court, "The Magic Flute" was intended for a theater with a box office.

Despite its allusions to the ideals of the Enlightenment and to Masonry (Mozart, his friend Haydn, and Emanuel Schikaneder, who wrote the libretto, were all Masons), "Flute" is at heart a fairy tale. As such, it was a boffo hit in 1790 and has remained so ever since.

In her costume designs (and in the imposing sets of George Tsypin), Taymor conveys both the somberness of the ideas that underpin the plot, as well as its delicious fancifulness.

[Remainder of this article here (no subscription or registration required)]


Amadeus Ex Machina

Chagall and Hockney have already had their way with Mozart's Magic Flute. Now--cue the kite puppets --it's Julie Taymor's turn.

By Peter G. Davis [New York Magazine, October 25, 2004]

Mozart's music may not always take second place when the Metropolitan Opera stages The Magic Flute, but--at least as long as I've been around--the productions have been mostly defined by their sets and costumes. And, true to form, the big buzz over the latest Flute centers on Julie Taymor, Tony-winning director of The Lion King, and her take on this immortal operatic fantasy. No wonder, since her Asian-influenced sense of theater, with its kite puppets, animal imagery, and masks, together with set designer George Tsypin's translucent geometric shapes and sculptures, give the eyes plenty to take in. To judge from the roars of approval on opening night, audiences will be finding new visual marvels to savor in this production for many years to come.

Yes, Taymor's stage is a very busy one, but not so frantic as to obscure what is at heart a fairly traditional approach to the dramatic action. Sarastro and the Queen of the Night, their mythical realms located somewhere between the sun and the moon, are clearly depicted in a pitched battle between good and evil; the young lovers Tamino and Pamina are tested, grow, and become wise through their adventures; everyday folk like Papageno and Papagena remain endearingly unaware of life's mysteries as they eat, drink, and make babies; and illusion is omnipresent as the characters wander through a world where humans of all ethnicities mix in surroundings that remain in a constant state of magical mutability. The stage pictures are dazzling, but the real wonder of Taymor's production is how precisely movement is counterpointed with music to reflect the enormous emotional range of Mozart's score, from slapstick comedy to solemn spirituality.

[Remainder of article here (no subscription required)]


Staging note:

The Stilts Beneath Their Wings
By DANIEL J. WAKIN [New York Times]

Mark Mindek walks into the Metropolitan Opera as a 5-foot-11-inch dancer and walks out onto the stage as a 12-foot dancing bird. He and a fellow dancer, James Graber, play two of the Julie Taymor-created creatures that flirt with Papageno, the girl-crazy bird catcher of Mozart's "Magic Flute," in the second act of Ms. Taymor's new production at the Met, which has performances on Monday and Thursday. How do the dancers manage to reach and lunge while tottering on stilts?

[Remainder of article here (subscription required for archived articles)]

Recommended recordings:

Mozart: Die Zauberflöte

Mozart: Die Zauberflöte

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):