Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

The Magic Flute [Photo by Victor Massaro courtesy of Phoenix Opera]
11 Dec 2010

Magic Flute, Phoenix

Wolfgang Amadeus Mozart and Emmanuel Schikaneder had known each other for some time before they wrote The Magic Flute.

W. A. Mozart: The Magic Flute

Vale Rideout: Tamino; Jennifer Nagy: Pamina; Kevin Burdette: Papageno; Lisanne Norman Brooks: Papagena; Zdenek Plech: Sarastro; Anna-Lisa Hackett: Queen of the Night. Carroll Freeman: Director.

Above photo by Victor Massaro courtesy of Phoenix Opera

 

In 1791 Schikaneder, who was a fine actor and a capable singer, wanted a theater piece from Mozart because he thought the name of the well-known composer would attract a large audience to his Theater auf der Wieden. Since he needed a piece that would have a broad appeal, he asked for a singspiel. That format, which has spoken dialogue between the sung numbers, was then an extremely popular form of entertainment.

Schikaneder’s sources for the opera’s libretto included a book of imaginative pseudo-oriental fairy tales which were published by Jakob August Liebeskind in 1786 under the title Dschinnistan. In it, a story called “Lulu, oder der Zauberflöte” (“Lulu, or the Magic Flute”) gave the librettist some good material. He drew on other sources as well and he used Masonic symbolism. Mozart was a member of the Masonic Lodge in Vienna. Schikaneder applied for membership in his native Regensburg and was turned down, but he probably succeeded in becoming a member in Vienna. Both wanted to interest lodge members in coming to the theater.

More than two hundred years later we don’t know a great deal of what went on at rehearsals, but this has come down to us. Bass singer Sebastian Meyer is quoted as saying that Mozart originally wrote the duet where Papageno and Papagena first see each other quite differently from the way in which we now hear it. Originally they were to cry out “Papageno!” and “Papagena!” a few times at the beginning. Schikaneder told Mozart that the music must express greater astonishment. He said that at first they should stare dumbly at each other, then Papageno should begin to stammer ‘Pa-papapa-pa-pa’. Papagena must repeat that until both of them finally get the whole name out. Mozart followed the advice, and in this form the duet had to be encored at numerous performances.

On Friday evening 3 December Phoenix Opera presented Die Zauberflöte in a version which featured arias sung in German and dialogue spoken in English. The wonderfully imaginative original production was by David J Castellano. The stage director overseeing the Phoenix performances was Carroll Freeman and he told the story effectively. Boyd Ostroff’s set, built for the Opera Company of Philadelphia, was positively enchanting. The costumes by A. T. Jones and Son were attractive, functional and fit the wearers well. Conductor and Choral Director John Massaro drew fine playing from his orchestra and kept the chorus singing the exquisite harmonies accurately. Lisa Starry, together with the Scorpius and Cannedy Dance Companies provided spirited dances that enhanced the story.

As Tamino, tenor Vale Rideout sang with a rich sound that soared over the orchestra. He is a good actor, too, and he energized his text with conviction. The real star of the evening, however, was the Papageno, Kevin Burdette. He has a large powerful voice with a burnished robust sound and excellent German. His bright, vibrant personality pervaded the entire theater, especially when he entered from behind the audience. His interpretation gave us an idea of what Schikaneder’s performances must have been like.

Jennifer Nagy was a secure Pamina who sang with lovely bell-like tones. The most difficult role to cast in this opera is that of the Queen of the Night. Unfortunately, local voice teacher Anna-Lisa Hackett had problems with both of her admittedly difficult coloratura arias. It’s not easy to find a good bass for Sarastro, either, but Zdenek Plech proved to be thoroughly capable. He had a fine tone, secure technique and he seemed to have no trouble at all producing the lowest notes. He should have a good career ahead of him. As the Speaker, Earl Hazell sang with dark tonal colors that rang true. His wife, Alexis Davis Hazell was an amusing Third Lady who sang the bottom line with passion. As the other two ladies, Julie Davis and Erin Tompkins blended their close harmonies beautifully and played their parts with visual piquancy.

Gabriel Gargari was a humorous Monastatos who was often surrounded by his energetic slaves, portrayed with gusto by Ryan Glover, Dennis Tamblin and Aubrey Allicock. Allicock doubled as one of the Armed Men along with Francisco Renteria. Both sang with handsome sounds, as did the Priests, Guillermo Ontiveros and Christopher Herrera. Lisanne Norman Brooks was a cute and bouncy Papagena with a charming lyric voice. As the Three Spirits, Kristin Jensen, Dana Brooks Atwood and Kerry Ginger showed a flair for comedy as they sang with rich, agile voices. Although it was not a perfect performance, it was nice to see a local group put on this great masterpiece.

Maria Nockin

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):