United States Mozart, The Magic Flute: Soloists, Refrain and Orchestra of the Metropolitan Opera / Erina Yashima (conductor). Metropolitan Opera, New York, 11.12.2025. (RP)
There’s a first time for every little thing, together with Julie Taymor’s manufacturing of The Magic Flute. For me, it got here within the family-friendly, 90-minute model that has grow to be a vacation staple on the Metropolitan Opera. First seen in 2006, Taymor’s manufacturing emphasizes the fantastical parts of Mozart’s Singspiel and incorporates parts starting from conventional Japanese puppet theatre to a futuristic realm. The rotating mirrored dice, which reveals always shifting shapes and dimensions, jettisons the manufacturing into one other galaxy.
Within the opening scene, menacing birds, considerably just like the Dementors within the Harry Potter novels, soar by the sky as an unlimited dragon, supported by black-attired kuroko (the silent stage crews utilized in Japanese bunraku puppet theatre), pursues Tamino. Much more pleasant, colourful birds flock round Papageno throughout his entrance aria. Improbable flamingos, who’re dancers on stilts, assist him shake off his gloom earlier than he meets his Papagena.
The Three Spirits, who function mystical guides for Pamina, Tamino and Papageno, are wizened, white-haired males who float in on an enormous skeletal hen. Suitably for its supposed viewers, the intense parts of Freemasonry are handled with a light-weight contact. The clergymen who information them by the much-abbreviated trials of fireside and water are extra jovial than stern. Equally fast-paced is the vanquishment of the Queen of the Evening and her henchmen, adopted by the briefest common rejoicing.
J. D. McClatchy translated and up to date Emanuel Schikaneder’s libretto for this abridged, clever and singable model, and the Met’s superb solid despatched their phrases with extraordinary readability into the auditorium. Titles are projected, however youngsters, in addition to a fair proportion of the adults, had their eyes glued on Taymor’s fast development of visible treats. The youngsters’s awe and laughter enlivened the expertise.
The audience could also be youthful than the common Met viewers, however there was no stinting on the musical values. Joshua Hopkins’s hearty Papageno introduced wit and bonhomie to each scene by which he appeared. It was a disgrace to have ‘Der Vogelfänger bin ich ja’ finish after a single verse, however many of the scene by which Papagena makes use of his magical bells to summon Papagena was intact. The pleasant ‘Pa-Pa-Pa-Papageno’ duet with Maureen McKay’s Papagena, who this model transforms into a significant character, was a delight.
Joshua Blue sang fantastically, his tenor as noble because the princely Tamino whom he portrayed. HIs ‘Dies Bildnis ist bezaubernd schön’ was enriched by each his golden tone and stylish model. As Pamina, Erin Morley’s lyric soprano was very hot and wealthy in ‘Ach, ich fühl’s’, her innate grace instilling the a number of dilemmas she faces with fact.
Because the Queen of the Evening, Aigul Khismatullina was magnificently attired in enormous, architectural, virtually surreal costumes. The Russian soprano tossed off the high-F’s with pinpoint accuracy, and her accented English introduced a sinister contact to the Queen of the Evening’s threats.
Matthew Rose’s radiant bass and the heat of his character made for a singularly human Sarastro. This was exemplified in his pure performing all through and the vocal ease of his ’In diesen heil’gen Halle’. In his Met debut, Zhengyi Bai was terrific as twisted Monostatos, ever desperate to frighten by flashing his protruding stomach encased in leather-based straps. Le Bu lent his stentorian bass to the Speaker’s declamations.
Kathleen O’Mara, Emily Treigle (granddaughter of the legendary bass-baritone Norman Treigle) and Daryl Freedman lusted after Tamino with glee, singing with equal gusto in each scene. The Three Spirits, Nico Hwang, Deven Agge and Ori Wosner, had clear voices, whereas their pale, wrinkled faces wore a curious all-knowing, cynical look.
Mozart’s rating unfolds quick on this condensed model of The Magic Flute. Dramatic twists and turns, which can take minutes to play out within the full opera, unfold in seconds. In her Met debut, conductor Erina Yashima mastered this high-wire act with aplomb. Every aria and prolonged scene had the suitable area, however she saved issues shifting. The Met Refrain had ample alternative to shine, whereas the orchestra performed with lightness and sparkle.
Purists could shun this vacation Magic Flute, however the Met was full for the primary run of the season. At 90 minutes, it holds the eye of kids, first-timers and even those that know the rating by coronary heart. Principally importantly, the music retains its magic.
Rick Perdian
Featured Picture: Aigul Khismatullina (Queen of the Evening ) © Ken Howard/Met Opera
Manufacturing:
Manufacturing and Costumes – Julie Taymor
Revival stage director – Eric Sean Fogel
English adaptation – J. D. McClatchy
Units – George Tsypin
Lighting – Donald Holder
Puppet designers – Julie Taymor, Michael Curry
Choreographer – Mark Dendy
Refrain director – Tilman Michael
Solid:
Tamino – Joshua Blue
Three Women – Kathleen O’Mara, Emily Treigle, Daryl Freedman
Papageno – Joshua Hopkins
Queen of the Evening – Aigul Khismatullina
Attendants – Stephen Paynter, Kurt Phinney, Craig Montgomery
Monostatos – Zhengyi Bai
Pamina – Erin Morley
Spirits – Nico Hwang, Deven Agge, Ori Wosner
Speaker – Le Bu
Sarastro – Matthew Rose
Monks – Christopher Job, Scott Scully
Papagena – Maureen McKay
Guards – Eric Taylor, Matthew Anchel
Solo Dancer – Maxfield Haynes
Flute Solo – Chelsea Knox
