'Die Zauberfloete'
Kathryn Lewek as the Queen of the Night in Mozart’s “Die Zauberfloete.” (Richard Termine/Metropolitan Opera)
Markus Werba as Papageno and Ashley Emerson as Papagena in Mozart’s “Die Zauberflöte.” (Richard Termine/Metropolitan Opera)
Greg Fedderly as Monostatos, Golda Schultz as Pamina, and Markus Werba as Papageno in Mozart’s “Die Zauberflöte.” (Richard Termine/Metropolitan Opera)
Mozart’s magical fable, “Die Zauberfloete” (“The Magic Flute”) will be shown at the Whitefish Performing Arts Center at 10:55 a.m. Saturday, Oct. 28. This enigmatic masterpiece was shown live in theaters a couple weeks ago, but because of a conflict at the Whitefish PAC, it will be shown pre-recorded in Whitefish on Oct. 28.
This full-length version of Mozart’s final opera is sung in German with English subtitles. Total run time is 3 hours 9 minutes, including one intermission. Tickets are available at the door for $20 adults/$5 students/$10 college students.
This Julie Taymor production of “Die Zauberfloete” emphatically explains my insistence that opera is a multi-sensory experience that should be seen, not just heard. If you saw “The Lion King” on Broadway, that was Taymor’s production; she won a Tony in 1998 for directing and designing the sets for that hit musical. In 2004, Taymor brought her magic to the Met stage for this production, perhaps the only director/designer whose interpretation can match Mozart’s score. Instead of setting it in Egypt as was Mozart’s intent, Taymor sets it in a fairy-tale world that features references from many cultures. The sets, costuming, and animal puppetry will be a feast for your eyes. For your ears, the ever-excellent James Levine will conduct the Met Orchestra. According to critics, “Maestro Levine simply let Mozart’s music speak, which it did gloriously.”
Mozart collaborated with German librettist Emanual Schikaneder to create “Die Zauberfloete.” Both were members of the secret society of Freemasons, and according to experts, this opera freely drops hints about Freemason goings-on. In fact, Mozart died just a few months after its 1791 debut, and some historians believe that Mozart may have been poisoned for revealing too much about the secret society (initiation rites, magic spells, symbolic references). Listen for the opening heavy chords in the overture that sound suspiciously like a knocking on a door to gain entrance to a secret society meeting. The sets and costumes reflect Freemason symbolism; watch for compasses, T-squares, Egyptian hieroglyphics and geometric patterns.
Apart from Freemason references, “Die Zauberfloete” is a fable about the search for goodness, truth, and honesty with romance and mysticism thrown in. At times it is emotionally profound; other times it is laugh-out-loud funny. “Die Zauberfloete” is technically not an opera at all, but a singspiel play because it features spoken dialogue as well as traditional operatic singing — much like American musical theater. It involves white-collar aristocratic characters (Prince Tamino, Princess Pamina, and The Queen of the Night), priestly characters (Sarastro and his priest buddies), and the highly entertaining blue-collar characters Papageno The Bird Man and his eventual crush, Papagena The Bird Lady. “Die Zauberfloete” also features some wonderful ensemble singing from a trio of ladies, a trio of men, and the Met Chorus.
In 1791 when “Die Zauberflote” debuted, the cultural movement called “The Enlightenment” was emerging in which members of lower classes questioned the authority of upper classes. Music historians muse that the Queen of the Night may be a thinly veiled reference to the Holy Roman Empress Maria Theresa, who tried to break up Freemason meetings during her reign. The Queen’s downfall in the opera can be interpreted as the success of the common man over the aristocracy.
The basic storyline of “Die Zauberfloete” is that the Queen’s daughter Pamina is kidnapped by the evil Sarastro. The Queen gives a magic flute to Prince Tamino to protect him while he journeys to rescue Pamina. After much cloak-and-dagger action, initiation rites in a temple, and the magic spells of a flute and bells, Tamino finally gets his girl and we learn who really is the evil one in this opera.
Music critics raved about the Met’s cast of characters, highly praising their singing and acting abilities. Prince Tamino is played by tenor Charles Castronovo, a native of Queens, New York, one of the “sturdier tenors” to play this role, as one critic explained. “His burnished tones lent a sense of strength and nobility to his role.”
Papageno The Bird Man is sung by baritone Markus Werba, whose excellent comedic timing and physical humor made him a favorite with the audience. A critic reported that Werba’s singing was “operatically artful, but delivered in the intimate style of a folk performer.”
Pamina is sung by young South African soprano Golda Schulz. “She sang with silvery upper tones and velvety lower ones,” said one critic. “She sang the role simply, nicely offsetting Tamino’s seriousness and Papageno’s silliness.”
German bass Rene Pape sings the role of Sarastro, something he has done since 1991. Pape is one of the most highly acclaimed operatic basses in the world, someone everyone should see and hear sooner than later.
Debuting at the Met as the Queen of the Night is Connecticut coloratura soprano Kathryn Lewek, who has already made this famous role a specialty throughout the rest of the world. The role is rather small, but critical to the overall opera. She first expresses benevolent superiority, then ultimate power, then biting malevolence. Usually coloratura arias are sweet angelic numbers, but not the Queen’s famous aria “Der Holle Rache...” (“The vengeance of Hell boils in my heart”). In a thrilling display of crazed vocal gymnastics — daring arpeggios that hit the stratospheric F above high C — the Queen of the Night loudly proclaims, “Don’t mess with me!”
Act 1: Prince Tamino and the bird-catcher Papageno are sent by the Queen of the Night to rescue her daughter Pamino, who is being held captive by Sarastro and his brotherhood of priests. Tamino has fallen in love with a picture of Pamina and hopes to win her. Arriving at Sarastro’s temple, the two travelers learn that it is the Queen, not Sarastro, who is evil. Sarastro realizes that Pamina and Tamino are meant for each other and promises her eventual freedom.
Act 2: Sarastro announces to the priests that Tamino will undergo initiation rites to join the brotherhood. Pamina, who has fallen in love with Tamino, is horrified when her mother asks her to murder Sarastro. Sarastro in turn tells Pamina that he does not seek vengeance. As part of their trials, Tamino and Papageno are not allowed to speak, and Pamina, thinking Tamino doesn’t care for her, is heartbroken. After many dangers, Tamino and Pamina are finally reunited.
Meanwhile, Papageno meets a flirtatious old lady, but he’s so upset that he cannot meet a girl for himself that he attempts to commit suicide. Suddenly, Papagena appears — she was the old lady, now transformed into a young girl. The Queen of the Night and her servants attack the temple, but are defeated and banished. All hail the triumph of courage, virtue and wisdom.
Sally Murdock is a guest writer for This Week in the Flathead and can be reached at murdock@cyberport.net.