BWW Reviews: A Visually Stunning MAGIC FLUTE at Opera Philadelphia

When Mozart's THE MAGIC FLUTE was first performed in 1791, there was no way of knowing that it would become one of the most popular operas in history. That it is in fact such is actually a bit peculiar - an amalgam of almost-impossible-to-sing arias, pseudo-Masonic rituals, Enlightenment philosophy, a possible slap at Empress Maria Theresa, dragons, and magical musical instruments provided to the heroes by the Queen of Mean - er, Queen of the Night, by all rights it should not work. Many critics have complained that it doesn't. The Diane Paulus production directed by Ashlie Corcoran (Paulus' assistant director when Paulus directed it at the Canadian Opera Company) does work at Opera Philadelphia - to a point.

First off, this production is visually stunning - there are no two ways about it. Paulus' staging, with much of the first half on a stage-within-a-stage (probably borrowed from Bergman's film of the opera) is impressive; the set and costume design of Myung Hee Cho are simply lovely. When, that is, they're not completely within the realm of whimsy, like the three-headed dragon or the elephants, giraffe, and other wild beasts that are tamed by the flute in question. The comedy is pronounced - Papageno's (a delightful, and full-voiced, Mark Stone) comic relief is emphasized nicely, and the Three Ladies in service to the Queen of the Night are a trio of lecherous Goths who borrow their wardrobe from "The Matrix".

But there are moments that fail to stagger. Rachele Gilmore, debuting at Opera Philadelphia as the Queen of the Night, hits all the right notes musically, and wears a fascinating costume suggesting that "The Matrix" and Marlene Dietrich had a child together, but she's lacking emotionally; there is sound, but no fury, signifying little. Her "Der Hölle Rache kocht in meinem Herzen" lacks fire. Elizabeth Zharoff's Pamina is a bursting ball of emotionality, perhaps just a touch too much so at her introduction. And Joseph Gaines' Monostatos is a steampunk demon, a bit too comic to feel sufficiently threatening either in action or in voice.

On the other hand, Mark Stone's Papageno is alone worth the price of admission, and Jordan Bisch as Sarastro brings a magnificent bass to bear on "O Isis und Osiris" and In diesen heil'gen Hallen". Antonio Lozano as Taomino begins slowly, but by the second act is in full throat and fine form, ready to be tested by fire, water, and his quartet with Pamina and the armed men.

Although the production values and costuming of this production are relatively modern, certain themes in THE MAGIC FLUTE are not. It is irredeemably sexist - wisdom, in Sarastro's world of rationality and order, comes from avoiding speech with women, and it's quite clear that the Queen of the Night is a miserable witch because she has no husband. Women may be admitted to the Order (presumably Freemasonry) provided they can display the virtues of men. This is an opera that's easiest to enjoy when focusing on the music and the musicality of the production, and, in this case, on the visuals - and ignoring the translation or meaning of the arias and dialogue. Mozart's music is ethereal (one reason the soprano parts are so difficult to sing), but the content (as opposed to the sound) of Emanuel Schikaneder's libretto is frequently unfortunate to modern sensibilities.

At Opera Philadelphia, at the Academy of Music, through April 28, and a visual and comic feast. Visit operaphila.org or call 215-893-1018 for tickets.

Photo Credits: Opera Philadelphia

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