Soprano sings magically in Utah Opera's 'Flute'
In 1791, the final year of his life, Mozart wrote two operas that are worlds apart in content and style — "La Clemenza di Tito" ("The Mercy of Titus") and "Die Zauberflote" ("The Magic Flute").
"Tito," written for the Viennese court, is a stylized Italian "opera seria," one of the final gasps in a dying art form.
"The Magic Flute," on the other hand, with its mix of fantasy and comedy, was intended as popular entertainment for the Viennese masses. But in Mozart's hands, it evolved into a work of sublime meaning and beauty. The struggle between the forces of good (Sarastro and the priests of Isis) and evil (the Queen of the Night and her entourage) that lies at the core of the story becomes instead a tale of compassion, understanding and the endless quest for truth.
After more than a decade's absence, Mozart's enduring masterpiece has been brought back to the Capitol Theatre by Utah Opera in a new production by stage director Thaddeus Strassberger that runs through Sunday.
Strassberger, who also did the scenic design, has chosen to present the work on a stylized stage with minimal scenery. Contrary to Strassberger's claims that the sets are intended to depict early 19th century Egypt, the stage doesn't seem to be time or location specific, although a few of the scenes do include a pyramid or palm tree. This ambiguity, however, works to the story's benefit. The elements of fantasy, mysticism and symbolism found in "The Magic Flute" shouldn't be bound by temporal parameters — they are timeless.
The Three Ladies were equal to Aylmer in their acting and singing talents. Soprano Heidi Stober and mezzo-sopranos Jamie Van Eyck and Jessica Bowers were exceptional in their ensemble pieces.
Baritone Carlos Archuleta is well cast as Papageno, the happy-go-lucky bird catcher who longs for nothing more than to find his life's companion. Archuleta's comic talents lent themselves well to his part.
Coloratura soprano Amanda Pabyan is the Queen of the Night. She sang her two showcase arias impressively, although she faltered in the extreme high range.
Especially delightful were the Three Boys, sung by Cathedral of the Madeleine Choir School members Ryan Tani, David Payne and Patrick Murnin.
Tenor Scott Murphree, as Tamino, and bass-baritone Alfred Walker, as Sarastro, were rather disappointing. Murphree's voice was weak and didn't project well, and Walker's low range was missing.
The Utah Symphony Chorus was admirable in its brief appearances. Noteworthy were the men in "O Isis und Osiris" in Act II.
Conductor Robert Tweten led members of the Utah Symphony. Tweten's tempos were consistently fast and occasionally proved detrimental to the clarity of the words.
The production is sung in German, while the dialogue is spoken in English.
E-mail: ereichel@desnews.com
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