HGO offers a new version of perennial favorite, 'Magic Flute'

The special affection long-time Houston Grand Opera patrons have for "The Magic Flute" can be attributed, at least in part, to the charming Maurice Sendak-designed production the company premiered in 1980. It stressed the fanciful storybook strain of Wolfgang Amadeus Mozart's classic over its complex underpinning of references to Freemasonry.

Revived on several occasions, the production set a standard for projecting the work's universally enjoyable aspects, with the potentially puzzling ones still there, just less prominent. Of course, this is not to say there aren't other ways of presenting "The Magic Flute" - just that one tends to measure other treatments against the one remembered as most felicitous.

That brings us to HGO's current production, considerably more stately, yet with its own subtly whimsical humor that bubbles up periodically. This production originated at English National Opera, helmed by Tony-winning director Nicholas Hytner, whose staging is re-created here by Ian Rutherford, with sets and costumes by six-time Tony winner Bob Crowley.

"The Magic Flute" depicts Prince Tamino's quest to find and win his fair Pamina, with whom he has fallen in love after viewing her portrait. He is accompanied by boisterous bird catcher Papageno, the main comic figure, a most reluctant adventurer, yet likewise driven onward in search of his perfect match. Their quest brings them into conflict with the Queen of the Night, Pamina's wicked, domineering mother, who tries various means of stopping them. To prevail, Tamino and Papageno must past the tests and trials set by a secret society, led by the righteous Sarastro, in his way just as domineering as the queen.

Visually, this production gives rein to the work's more solemn, ritualistic aspects as well as its fantasy and humor. At curtain rise, the look is downright austere, with a tall semi-circular wall upstage and three classical columns to one side. Yet the back wall sometimes cracks open to reveal more colorful vistas behind, while the columns periodically crawl across the stage, each with an attached wall adorned with hieroglyphics and other embellishments that change to suit the action. The first view of Tamino, struggling against the monster he faces in the opening scene, shows him entangled with a giant python - an original and striking touch, foreshadowing others to follow.

Ultimately, the production proves as potent in its stagecraft as in its musical values. Those are never in doubt, given the capable cast's consistent vocal excellence and astute conducting by Robert Spano, who maintains crisp tempi and a light touch attentive to the mercurial ingenuity of Mozart's muse.

David Portillo sings Tamino in a clean, pure tenor appropriate for the forthright hero, Candide-like in his susceptibility to the influence of others. If one might wish for a bit more color in the portrayal, remember this is one of those works built around a relatively bland protagonist around whom considerably more colorful characters orbit.

Nicole Heaston's warm, supple soprano is ideal for Pamina. She sings and acts with the controlled passion and composure appropriate to a Mozart heroine - especially eloquent in her Act 2 aria lamenting Tamino's seeming indifference to her.

Kathryn Lewek makes a formidable Queen of the Night, rising to the challenge of the work's showiest role. She brings brilliant virtuosity and control to the coloratura fireworks of her Act 2 aria of dire threats and wrath. With his commanding bass, Morris Robinson brings the right stentorian dignity to Sarastro.

Michael Sumuel's Papageno is distinguished by his robust singing, comic timing and irresistibly outgoing personality.

D'Ana Lombard, Megan Samarin and Carolyn Sproule connive mischievously as the vocally accomplished Three Ladies who assist the queen. Aaron Pegram lends the right oily villainy as Monostatos. Pureum Jo revels in the broad comedy of her spoken scenes as Papagena, and sparkles in her duet with Papageno. As the Three Spirits who guide Tamino, Hannah Haw, Eden Nielson and Brooke Camryn Caballero sing with childlike purity and sweetness.

With its processionals and ceremonial rites, "The Magic Flute" has stately, even static moments - yet all upheld by the foundation of Mozart's sublime music. Those who miss the Sendak "Flute," with its hot-air balloon and harmless dragon, will find comparably engaging novelties in this staging's quartet of lumbering bears (easily disarmed by the titular instrument) and a delightful next-to-closing interlude that places Papageno and Papagena, literally, in their own little love nest.