CCM Mainstage Series Presents Mozart's THE MAGIC FLUTE, 4/4-7

The University of Cincinnati College-Conservatory of Music (CCM) presents Mozart's beloved comedic singspiel The Magic Flute (Die Zauberflöte, 1791) from April 4-7 in UC's Corbett Auditorium. The fourth most frequently performed opera worldwide, this production will be sung in German with English dialogue (with supertitles displayed). Mark Gibson conducts with stage direction by Steven Goldstein.

Composed by Wolfgang Amadeus Mozart with a libretto by Emanuel Schikaneder, this beloved opera offers something for everyone: a hero and heroine questing for true love, evil villains, a comical sidekick and a whole range of beastly creatures. According to Goldstein, The Magic Flute is a sort of vaudeville variety show of the 18th century. However, this iteration isn't all about the slapstick comedy. "My charge to the performers," Goldstein explains, "is for the comedy to come from somewhere genuine. There is a real play back and forth between light-heartedness and deep morality in Flute and our goal is to find the truth inside of it."

A sense of profound humanness is part of what makes The Magic Flute such an inviting evening of entertainment for all ages. First-year master's degree student Conor McDonald is playing the role of Papageno, whom he describes as "an earthy character and arguably the most human character in the opera." Papageno, a classic Mozart character, is a source of comedic relief throughout the show. "He wants nothing more than to find a girlfriend and be happy," McDonald explains. "The audience can identify strongly with his imperfections, his anxieties and his desire to live a comfortable, fulfilling life."

"The Magic Flute is as relevant today as it ever has been because the struggles that the characters endure are things that humans have always and will always grapple with," states McDonald. Part of this feeling of camaraderie comes directly from Mozart's magnificent score. McDonald is thrilled to approach the challenge of this iconic work, partially because "the music is so perfectly written that, after a while, it begins to sing itself." From The Magic Flute comes such beautiful and familiar music that Goldstein hopes the audience will be whistling the tunes on their way home.

In an opera full of magical merriment and quirky characters, Goldstein challenges the audience to search for moments that resonate humanity. "Check your preconceptions at the door," he says, "and reflect on this expression of joy and how wonderful it is to be alive."

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