Lyric Opera’s ‘Magic Flute’ is a family fable
By Betty Mohr Opera Review/bettybmohr@aol.com December 21, 2011 3:50PM
Charles Castronovo performs as Tamino in Lyric Opera of Chicago's "The Magic Flute" through Jan. 6. | Dan Rest photo
‘THE MAGIC FLUTE’
♦ Through Jan. 22
♦ Civic Opera House, 20 N. Wacker Drive, Chicago
♦ Tickets, $34-$224
♦ (312) 332-2244; lyricopera.org
♦ Alek Shrader will perform the role of Tamino from Jan. 9-22.
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Updated: January 24, 2012 8:01AM
It has a fire-breathing dragon, a dancing monkey, a giant black crow, fierce lions and other playful creatures.
It’s all part of the Lyric Opera of Chicago’s revival of Wolfgang Amadeus Mozart’s “The Magic Flute,” which arrives in time to help shake off the winter blues.
Mozart’s masterpiece, with a libretto by Emanuel Schikaneder and Karl Ludwig Giesecke, has such a fairy-tale quality to it that’s it’s a fable for everyone in the family, including the kids.
There are some who have seen the opera many times before and who may consider the classic to be old hat.
But now, in its sixth incarnation at the Lyric, it’s the best revival of “The Magic Flute” that I’ve seen to date.
Mozart’s ravishing music is presented to its heavenly best by conductor Sir Andrew Davis and the always exceptional Lyric orchestra.
With fine direction by Matthew Lata from the original production by August Everding, a beautiful fantasy set by Jorg Zimmermann, costume design by Renate Kalanke and lighting design by Jason Brown, everything comes together in seamless precision.
Not only is the music glorious, but so, too, are the delicious vocalizations of the superb ensemble, as well as the engaging chorus led by Michael Black.
At the center of the tale are lovers who fight against the evil Queen of the Night and have to go through hardships to find truth, goodness and each other.
Charles Castronovo, strong and handsome, looks the part of the earnest prince Tamino, and soars with a rich tenor.
And Nicole Cabell is exquisite with a stunning soprano as princess Pamina.
On their own, Castronovo and Cabell rivet one’s attention. But when they are together in elegant dramatic duets, they’re a dream team.
That said, there are moments in the production when Stephane Degout, as Papageno, the all-too-human bird catcher, almost steals the show.
The French baritone comes through with lush golden tones and gives a hoot of a comic portrayal.
Degout, as Papageno, often had the audience breaking out in laughter at his antics such as the surprising comic moment in which he goes down into the orchestra pit to fight the maestro for the baton.
There’s also the moment when he says his lines in English (the opera is in German) and then looks up at the projection above the stage waiting for a German translation to appear.
This is Degout’s debut at the Lyric, and I’m sure it won’t be his last time on the opera company’s stage.
As the evil Queen of the Night, Audrey Luna started out a bit weak, but her soprano grew in strength to a towering finish.
Also, Austrian bass Gunther Groissbock delivers a deep-throated Sarastro and soprano Jennifer Jakob is a charm as Papagena.
If you’ve never seen “The Magic Flute,” now is the time to experience it. This production is as good as Mozart gets.
Betty Mohr is a local free-lance writer.
SHOWING SUPPORT
Lyric Opera of Chicago has chapters in which opera lovers of all ages get together to enjoy lectures, musical performances, special events, volunteer opportunities and each other’s company. Information on the Flossmoor Area Chapter is with president Diane Moses at FlossmoorChapter@lyricopera.org.
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