South Florida Classical Review

Sara Kennedy as Pamina and Alex DeSocio as Papageno in FGO’s production of Mozart’s The Magic Flute.

Mozart’s operatic masterpiece The Magic Flute traverses the multiple worlds of fairytales, vaudeville and Masonic ritual. In Florida Grand Opera’s season-opening production, seen Sunday afternoon at the Arsht Center, director Jeffrey Marc Buchman takes that layered narrative one step further by presenting the opera’s scenario in the manner of role-playing board games. The result is an immersive experience that is eye-filling and greatly entertaining, yet true to the spirit of Mozart’s creation.

Set designer Stephen Moravski and video designer Greg Emetaz have populated the stage with a series of ever-changing tableaux, utilizing high-tech visuals and stunning lighting effects by Robert Wierzel. Camillia Heath’s costumes are equally colorful. 

The stunning depictions of trials by fire and water and the waterfall at Sarastro’s temple were breath-taking. Buchman sets the opera’s tale of goodness, love and virtue triumphing over evil as an enactment by a youthful group of participants taking up a game’s challenge. While musical numbers were sung in the original German, spoken dialogue was in very modern English. (Even with subtitling, the cast’s diction was consistently clear.)

For the most part, the musical elements were well served. The production’s  strengths began in the orchestra pit. Christine Brandes, herself once a stellar Mozart and Baroque soprano, conducted an astutely paced reading from a rapid, lively Overture to the final joyous chorus, here sung offstage as the characters return from their game adventure. Both the sparkle of the comedic episodes and the nobility of the Masonic arias and choruses were fully captured under Brandes’ direction. She elicited tight ensemble playing and precise articulation from the excellent orchestra. Under chorus master, Jared Peroune, the massed sequences in Sarastro’s realm and male priests’ exclamations rang out with weight and solidity.

Sara Kennedy made the heroine Pamina a youthful, vibrant presence. The richness and warmth of her middle register and silvery top imbued Mozart’s writing with color and nuance. She sang “Ach, ich fuh’ls” with heart-rending poignancy. 

Ricardo Garcia, as Tamino, was first seen in black leather, changing to Masonic attire as he underwent the rituals of purification. His light tenor, affinity for classical style and strong top notes served the lyric and heroic aspects of the role well and he blended adeptly in the many concerted ensembles.

As the bird catcher Papageno, Alex DeSocio proved a born entertainer. Prancing about the stage, he threw off the dialogue’s one-liners with the breezy flair of a standup comic, and sang with deft lightness and personality. 

The Queen of the Night, Pamina’s mother and the opera’s villainess, is one of those nearly impossible roles, requiring coloratura facility that makes Lucia’s mad scene seem like a student exercise. Adorned in a black gown with a crown, Laura León made a brave attempt. In the Queen’s first act aria, León’s smallish voice tended toward shrillness under strain at the top. The Act II showpiece “Der Hōlle Rache kocht in meinem Herzen” was steadier, the high notes mostly spot on and she communicated the queen’s venomous fury. 

Mozart conceived some of the score’s most noble and eloquent music for the high priest Sarastro. Tall and appropriately dignified with a gold mini covering, Andrew W. Potter too often sounded hollow. He had the role’s low notes well in hand but  lacked the basso solidity and beauty of tone the two big arias demand.

David Margulis’ sturdy tenor gave the evil Monostatos greater heft than usual and he avoided turning the role into a caricature. Neil Nelson brought dignity and a solid bass-baritone to the Speaker’s solemn proclamations. Adorned in gold and silver, the Queen’s Three Ladies were attractively sung by Avery Boettcher, Mary Burke Barber and Monique Galvāo, their teamwork and interaction with Garcia and DeSocio well-coordinated. 

Initially an elderly hag, Sydney Dardis turned into a sexy Papagena with the soubrette vocalism to match, and her duet with DeSocio was a delight. James A. Mancuso and Alexander Payne were stern and vociferous as the Priests and Armed Men. Kornel Racz, Christian Burbach and Sophia Carvaretta brought fresh and appealing voices to the three spirits.

 Rosa Mercedes’ choreography was an integral part of the production. The dancing animals, temple spirits and Papageno’s band of children added wit and intense moments to the opera’s narrative. Clearly one of the most elaborate productions in the company’s history, Sunda;s performance attracted a diverse audience that expanded upon the opera’s usual matinee patron base.  In some productions, the opera’s first act can seem interminable but in Buchman’s conception, it seemed to fly by.

Ordinarily the music of Mozart would seem too complex for the young and uninitiated. This production’s striking scenic wonders right out of Star Wars, however, is ideal for children to see the art form for the first time. It also makes a great spectacle for the young at heart. There are three remaining performances.

Florida Grand Opera repeats The Magic Flute 8 p.m. Tuesday at the Arsht Center in Miami and 7:30 p.m. December 5 and 7 at the Broward Center in Fort Lauderdale. fgo.org

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