The Magic Flute is a famous opera composed by Wolfgang Amadeus Mozart. It tells the story of a prince named Tamino who embarks on a quest to rescue a princess named Pamina with the help of a magic flute. The opera combines elements of fairy tale, myth, and Masonic symbolism. In New York City, The Magic Flute has been performed by various opera companies, including the Metropolitan Opera. The opera has been staged in different productions over the years, each with its own unique interpretation and staging. One notable production was the Metropolitan Opera's production in 2019, directed by Julie Taymor.

Superb cast delivers delights in the Met’s family-friendly Magic Flute

Julie Taymor’s enchanting, puppet-filled staging of Mozart’s fairytale opera Die Zauberflöte (The Magic Flute) first came to the Metropolitan Opera in 2004 as a full-length production, sung in German. The 110-minute family-friendly version, performed in a snappy, colloquial English adaptation by the American poet JD McClatchy, premiered in December 2006 and has returned to the Met every season since to become a holiday staple at Lincoln Center. Performed by a superb cast, the whimsical production looks and sounds as fine as ever.

There are many familiar faces on the stage and they give an extra dose of magic to Mozart and Schikaneder’s Singspiel, a tale about a prince on a quest to rescue the woman of his dreams. With splendid singing by a first-rate group of mostly youthful performers, and a plot that successfully straddles slapstick and mysticism, the show is donned with a string of delights. Well-known names returning to the magical production were conductor Patrick Furrer, sopranos Janai Brugger and Kathryn Lewek, tenor Brenton Ryan, bass-baritone Patrick Carfizzi, and tenor Rolando Villazón.

Villazón all but stole the show in a standout performance as Papageno. Though classified as a baritone role, the part of the hapless bird catcher is an anomaly in the world of opera. The character’s music is rhythmic but simple and occupies the middle of the male vocal range. The notes posed no problem for Villazón. With his vocal lines intoned in quasi-parlando style, his voice was the perfect fit. Well-known for his sheer abandon on stage and his finely detailed characterizations, Villazón brought perfect comic timing to his gestures and English-language dialogue, adding some seemingly spontaneous, but always humorous expressions in other languages.

The other standout in the cast was Kathryn Lewek in her fifth Met season as The Queen of the Night. Possibly the best of contemporary sopranos in this role, she dazzled. Without a hint of constraint in the high registers, she dispatched her demanding arias, “O zittre nicht, mein lieber Sohn” (Oh do not tremble, my dear son!) and “Der Hölle Rache kocht in meinem Herzen” (The revenge of hell boils in my heart) with tremendous power, fine articulation and vocal excitement. In this abridged version, her part is more prominent than usual. Flapping enormous moth-like wings while effortlessly executing fearsome runs and leaps to high F, she brought indispensable drama and intensity to the role.

In a Met role debut, Piotr Buszewski provided an ardent and super energetic portrayal of Tamino. Somewhat unsteady as he forced his lyric tenor excessively in his Act 1 aria “Dies Bildnis ist bezaubernd schön” (This picture is enchantingly beautiful), he settled down in Act 2 and displayed a delightfully delicate sound when paired with Janai Brugger, splendidly reprising her 2016 Met turn as Pamina. Her Act 2 aria, “Ach, ich fühl’s, es ist verschwunden” (Ah, I feel it, it is vanished), was lovely – plangent, effortlessly delivered and smoothly resonant.

In another role reprisal, Brenton Ryan, outlandishly costumed in batwings, fake bulging flesh and ankle-strap pumps, was hilarious as Monostatos, who tries to seduce Pamina. As Sarastro, Brindley Sherratt offered an appropriately stately portrayal of the High Priest, his bass sounding beautifully dark and deep. In the brief role of the Speaker, Patrick Carfizzi was commanding as he addressed Tamino outside the temple.

Furrer, conducting a condensed version of the score that deletes the entire overture and several numbers, elicited an elegant, highly spirited performance from the Met orchestra and chorus. Julie Taymor’s fanciful puppets and colorful, extravagant costumes, along with George Tsypin’s luxuriously imaginative set designs, continue to provide stage images to astonish and savor in a Magic Flute that only glitters more with age.

Magic flute opera nyc

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One notable production was the Metropolitan Opera's production in 2019, directed by Julie Taymor. This production featured a stunning visual design with puppetry and animations, incorporating elements of fantasy and surrealism. It was critically acclaimed for its innovative approach and brought a fresh perspective to the opera.

schedule

May 3 1:30PM

May 4 11:15AM

May 5 3:20PM

The Magic Flute opera in NYC is not only known for its spectacular productions but also for its outstanding performances by talented opera singers. The roles of Tamino, Pamina, and the Queen of the Night are particularly demanding, requiring singers with exceptional vocal range and technique. The opera's music is captivating and includes memorable arias such as "Der Hölle Rache kocht in meinem Herzen" (The Queen of the Night's aria) and "Dies Bildnis ist bezaubernd schön" (Tamino's aria). These arias showcase the vocal prowess and emotional depth of the characters. Attending a performance of The Magic Flute opera in NYC is a unique experience that allows audiences to immerse themselves in the enchanting world of Mozart's music and the magical story it portrays. Whether it is a traditional production or a modern reinterpretation, the opera always captivates and engages the audience, making it a must-see for opera enthusiasts and newbies alike..

Reviews for "A mesmerizing opera experience: The Magic Flute in NYC"

1. John - 1/5 stars - The Magic Flute opera at NYC was a complete disappointment. The storyline was confusing and hard to follow, the music was uninspiring, and the performers lacked energy and passion. I was expecting a beautiful and enchanting opera experience, but instead, I left feeling bored and frustrated. I wouldn't recommend this production to anyone looking for a magical and enjoyable evening.

2. Sarah - 2/5 stars - I was really looking forward to seeing The Magic Flute opera in NYC, but unfortunately, it fell short of my expectations. The sets and costumes were lackluster, and the overall production felt amateurish. The singers' performances were mediocre, with some struggling to hit the high notes. The only redeeming factor was the orchestra's musical talent. Overall, it was a disappointing experience that failed to capture the magic and grandeur that I associate with opera.

3. David - 2/5 stars - The Magic Flute opera in NYC was a letdown for me. The production seemed outdated, and the staging felt clumsy. The story was supposed to be whimsical and mystical, but it lacked charm and failed to captivate the audience. The performers lacked chemistry, and their acting was unconvincing. I appreciate the effort put into the costumes, but they couldn't make up for the overall lackluster production. I wouldn't recommend this opera to anyone expecting an enchanting and visually stunning experience.

4. Emily - 3/5 stars - While The Magic Flute opera in NYC had its moments, it ultimately fell short of my expectations. The music was beautifully performed, and some of the set designs were visually striking. However, the pacing felt uneven, and there were moments where it dragged. The storyline was also confusing, especially for someone who was not familiar with the opera beforehand. Overall, it had its highlights, but it didn't quite deliver the magic I was hoping for.

5. Michael - 2/5 stars - I'm sorry to say that The Magic Flute opera in NYC left me unimpressed. The performances felt lackluster and lacked emotion, making it hard to connect with the characters. The pacing was slow and dragged on, making the opera feel longer than it actually was. The set designs were also underwhelming and failed to create a captivating atmosphere. Overall, it was a forgettable experience that I wouldn't recommend to others looking for a memorable opera performance.

The Magic Flute opera: A night of enchantment in NYC