Mozart’s enduringly popular musical comedy was televised this afternoon in its latest Met incarnation directed by Simon McBurney. The bright comedy is swathed in darkness (lighting not tone) in his staging which employs more theatrical gimmicks than found in the trunks of 10 touring magicians. The orchestral pit is raised almost to stage level. A Foley Artist provides sound effects in plain view to the audience’s right. A Visual Artist (audience left) sketches on a blackboard projected to a large screen. A raked platform is raised and lowered without much underlying reason. Most of the players are in modern costumes except for three soldiers who look like the wandered in from Genghis Kahn’s army. Sarastro starts Act 2 with a handheld microphone. Papageno’s costume was doused with bird poop. He wandered into the second row when he wasn’t schlepping a metal ladder over his shoulder. Tamino arrived in a blue track suit that was immediately removed by the three ladies leaving him in his skivvies for much of the first act. The Met’s first flute player was enlisted to the cast as was its glockenspiel player. The tricks were all clever but added nothing tangible to the performance of Mozart’s fairy tale. The company would have done better to stick with Julie Taymor’s previous production. More light and less kitsch.
The singing with two exceptions was up to the Met’s high standards. One was below and the other above. Lawrence Brownlee has a voice well suited for Mozart’s tenors. His singing was consistently on point and apposite to the music. He seems to have added a considerable package of avoirdupois since I last saw him – the occupational hazard of a tenor. Erin Morely was vocally secure and emotionally affecting as Pamina – a very fine performance.
The Danish bass Stephen Milling did not have the orotund sound needed for Sarastro. His low notes were barely audible and unsupported. While he looked the part, he didn’t sound it.
American coloratura soprano Kathryn Lewek as the Queen of the Night was largely confined to a wheelchair or used a cane while dressed as an old hag. More of McBurney’s theatrical camouflage. Vocally, she was sensational. This was the 50th time she has performed this role at the Met which was several times declared as a new record for the part. It’s also the only role she has sung with the company. Why this outstanding artist has not been given other parts is another New York puzzle. Her reading of the famous second act aria was revelatory. She gave the staccato notes known to just about everyone a dramatic impact that I’ve never heard before, even from the greatest sopranos who have sung the piece. It was not a great display piece, but rather an emotional outburst from a mother who wants recompense for her stolen child. She received a prolonged ovation after the aria and during her curtain call. A bravura performance.
Baritone Thomas Oliemans was fine as the ladder toting bird besmirched Papageno. His light voice fit the part well. His can’t fail duet with Papageno didn’t fail. The rest of the cast was up to their roles’ requirements. A special note about the problematic part of Monostatos. The libretto describes him as a Moor. He has traditionally been played as a black man. As he’s a very unpleasant fellow this depiction will no longer suffice. He was played by the very white Brenton Ryan. This may be the only part in opera that a black man will not be allowed to play.
Conductor Nathalie Stutzmann has been on a Mozart Marathon for the past four weeks. During that period she has conducted 12 performances of Don Giovanni and The Magic Flute. The last show of the former the evening preceding the Flute telecast. She got a taut performance from the Met’s orchestra that was largely overpowered by the directorial hijinks.
In summary, a vocally very good rendition of the popular piece that could have greatly benefited from less machinery and more wattage. You’re on your own vis-à-vi a recommendation to attend the replay if you missed the live performance,
Metropolitan Opera House
June 3, 2023
THE MAGIC FLUTE (DIE ZAUBERFLÖTE)
Wolfgang Amadeus Mozart-Emanuel Schikaneder
Pamina…………………………………Erin Morley
Tamino…………………………………Lawrence Brownlee
Queen of the Night………………………Kathryn Lewek
Sarastro……………………………….Stephen Milling
Papageno……………………………….Thomas Oliemans
Papagena……………………………….Ashley Emerson
Monostatos……………………………..Brenton Ryan
Speaker………………………………..Harold Wilson
First Lady……………………………..Alexandria Shiner
Second Lady…………………………….Olivia Vote
Third Lady……………………………..Tamara Mumford
Genie………………………………….Deven Agge
Genie………………………………….Julian Knopf
Genie………………………………….Luka Zylik
Priest…………………………………Richard Bernstein
Priest…………………………………Errin Duane Brooks
Armed Men………………………………Errin Duane Brooks
Armed Men………………………………Richard Bernstein
Foley Artist……………………………Ruth Sullivan
Visual Artist…………………………..Blake Habermann
Flute Solo……………………………..Seth Morris
Glockenspiel Solo……………………….Bryan Wagorn
Conductor………………………………Nathalie Stutzmann
Production and Choreography………………Simon McBurney
Set Designer……………………………Michael Levine
Costume Designer………………………..Nicky Gillibrand
Lighting Designer……………………….Jean Kalman
Projection Designer……………………..Finn Ross
Sound Designer………………………….Gareth Fry
Associate Director………………………Rachael Hewer
Video Director……………………..Gary Halvorson
