Review: Calgary Opera's Magic Flute an exotic comic adventure

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Review of Calgary Opera’s The Magic Flute

Calgary Opera’s delightful new production of Mozart’s The Magic Flute is long on story and short on symbolism. While there are dark things that might be uncovered relating to the coded Masonic element, the surface of the opera is really the stuff of a children’s story: there is a dragon, there is a guileless hero who rescues a princess; there are comical and fantastical characters; there is a father figure; there is a (not too serious) villainess; and it all works out in the end with an edifying moral.

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            All these element are in the foreground in this new production, set as a fairy tale legend that just might take place in a magical Egypt. But it is the fancy of it all, the telling of an exotic, comic story that holds and grips the audience.  The symbolism is along for the ride, but it needs to be inferred; it is not the central focus.

            The result is a production that is as light on its feet as a playful child.  If you can read Alice in Wonderland, you can see this opera — and with probably a similar type of enjoyment.

            There is a beautiful congruity of conception, staging, and acting here that works well with the costumes and sets (borrowed from Edmonton Opera).  Stage director Rob Herriot is no stranger to Calgary audiences, and here, as in other production he has directed for Calgary Opera, there is an attention to detail that engages but is not fussy. Everywhere the comic element of the story is to the fore, the serious moments present but not underlined. In presenting the comic surface of the opera, there is a measure of stylization, but it arises naturally from the script and the music and is not laid on as director’s opera.

            For this conception to work, the production needs to have singers with the ability to do comedy and to do it simply and naturally. Chief among them is Hugh Russell as Papageno, the comic sidekick to our hero Tamino. Delivering his spoken lines with a deft comic touch, Russell also sings the part beautifully, with a solid core to his voice and an expert sense of rhythm.

            The many exchanges with Tamino were wonderfully funny, as is the mock death scene toward the end. Together with Andrea Nunez, a pert Papagena, Russell delivered a show-stopping performance of the famous Papageno-Papagena duet in the second act, as clever and playful as one could ever hope for. Russell never missed a comic trick, a fine performance all around.

            The sense of light, free-spirited comedy was also present in the singing and acting of the three ladies (Lida Szkwarek, Michele Minke, and Jennifer Sproule), whose exchanges at the opening and throughout the evening were perfect for their dramatic function in the opera. The three ladies also sang well, notably Lida Szkwarek who has the most challenging part vocally.

            The three ladies were nicely matched with the three spirits (Stephanie Hradsky, Abbey Curzon and Melissa Peiou), normally played as boys, but in this case cast as young women. The benefit came in the ability to render the comedy with greater point and more security in the singing. They made a fine contribution to the general fun and kept the tone of a fairy-tale always in the mind.

            The production’s hero, Tamino, is played by Adam Luther, who sings with a strong clear voice, perhaps with more heft than is typically is the case. He was exceptionally successful in the famous opening picture aria, the high-lying tessitura causing no problems.  Physically apt for the role, he was the picture of a prince for which any princess might sigh.

            The princess (Pamina) in this instance was Shannon Mercer, a well-known Canadian soprano familiar in early music circles.  Bouncier than most singers in this role, Mercer sang with a clear, well-focused tone that straightened out in the top register and was sometimes a bit shrill. Since her voice carries well, she could have eased up a bit and enjoyed more obviously the beautiful music she gets to sing.  Still, there was much to savour in her affecting account of the famous aria in the second act, Ach, ich fuhl’s and in her duet with Papageno.

            Ambur Braid was the Queen of the Night, singing some of the most well-known music in the opera. She made a very strong impression and received a very warm reception to her arias, both of which were sung with brilliant coloratura and a ringing tone.  No one will be disappointed here.

            Uwe Dambruch sang the sympathetic role of Sarastro. Dambruch has the perfect vocal timbre and weight for this role, and he was strong in the dramatic side as well. Not particularly sophisticated in his vocal technique, he nevertheless came across well simply because he is so suited to the part in every way.

            The supporting roles were also performed well, notably Nathan Keoghan as the First Priest and Armed Man, a role much harder to sing than the modest size of the part might suggested. He was well paired with Jason Ragan in the lower part, who contributed some well-focused bottom notes to the texture. Jeffery Boyd sang the role of Monostatos with suitable dark humour, a fine fairy-tale villain.

            The chorus and orchestra also contributed to the total effect, singing and playing with their customary professional security and competence. Conductor Robert Tweten didn’t let much grass grow under the feet of the performers, the music moving along with a quickness of pace congruent with the tone of the production.  I might have preferred a little relaxing of the tempo here and there, but this is a matter of personal taste.

            Perhaps not quite as spectacular as the previous production of Die tote Stadt, this is nonetheless a worthy production of this famous opera, notable for its high spirits and genial humour. The opening night was sold out, and there are performances on Wednesday and Friday of this week.

Go to calgaryopera.com for more information.