Magical aura surrounds Mozart’s ‘Flute’
By Juliet Schoen / Theater Critic
The fantasyland that is evoked by Mozart’s “Magic Flute” is delightfully created in the revival production at the Music Center, presented by Los Angeles Opera. The opera, which deals with mystical ideals of good and evil, features a wicked queen, three strange ladies, a bird man, a flying boat with three singing children as well as imaginary animals.
A creative team has captured the sense of wonder in the sets, the costumes and the inspired music. Much of the credit must go to Peter Hall, who was responsible for the original production, and Gerald Scarfe, the whimsical designer who thought up the collection of lovable beasts and provided unusual costume designs.
Mozart worked with an unusual libretto that moves from light to dark and from serious to humorous.
The Queen of the Night is presented as a weeping mother seeking to have her daughter, Pamina, returned to her. The young girl has been abducted by Sarastro, the head priest of an ancient Egyptian fraternity. Alas, the queen is the villainess, while the priest represents the hopes of humanity. A stolid prince, Tamino, sets out to free the young woman, aided by a strange man dressed like a bird. The serious theme is offset by the antics of the bird-man, Papageno, who disdains wisdom in favor of the comforts of life.
The characters are limned in the music of Mozart, who offers a feast of gorgeous arias. Most members of the cast on opening night were not familiar to Los Angeles audiences but they all acquitted themselves well. One must start with the Papageno played by Nathan Gunn who is making a name for himself internationally. A delight in his feathery attire, he offered just the right amount of buffoonery to offset the blandness of his companion, Tamino. Matthew Polenzani, an accomplished singer, takes the role of Tamino. Perhaps his sissy outfit, consisting of a white overblouse accessorized with red belt, gloves and boots, can be blamed for his stolid acting.
L’ubica Vargicova has the daunting responsibility of singing those difficult coloratura arias and came through with aplomb. Other important roles were taken by Marie Arnet as Pamina, Greg Fedderly as the villainous Monostatos, Amanda Squitieri as Papagena. The three ladies were much more amusing and menacing than usual as played by Tamara Wilson, Lauren McNeese and Beth Clayton.
The three wise boys, who lent a helping hand when needed, were beautifully sung by Ryan Schiller, Stephen Cruz and Caleb Glickman.
Everything came together beautifully under the directorial hands of Stanley M. Garner. The wonderful James Conlon led the Los Angeles Opera Orchestra and demonstrated his conviviality with Mozart.
This is a magical, mystical ride that may not make much sense, but it is easy to be caught up with its intrinsic charm. It’s Mozart, mounted fastidiously, and not much more need be said.