Differences

This shows you the differences between two versions of the page.

--- magic_flute_march_1_2019 [2019/03/02 10:38] – created 192.168.1.36
+++ magic_flute_march_1_2019 [2019/03/02 10:55] (current) – 192.168.1.36
@@ Line 2: / Line 2: @@
 Sarasota did it again.  It was another marvelous night of good singing, good music, very attractive sets and a cast that was a total delight.  Once again we were in Row D in the center  of the house in seats 106 and 107.  The Queen of the night was a powerhouse singer however the biggest applause of the night came for the King's daughter, Pamina.\\
-===== Feb 2019 Sarasota Herald Review =====
+[[Feb 2019 Sarasota Herald Review]]\\
+[[Feb 2019 Magic Flute Photos]]
-Few operas are more delightful than Mozart’s “The Magic Flute,”
-and Sarasota Opera’s latest production, staged by Mark Freiman
-and conducted by Jesse Martins, is a traditional yet magical
-version of Mozart’s finest opera, chock full of symbolism and
-Masonic allegory as we follow a journey exploring good and evil
-to spiritual balance.
-Emmanuel Shikaneder’s complex libretto is filled with Masonic
-elements, emphasizing the triumph of reason, nature and wisdom
-over dark forces. Freiman moved the production along brilliantly
-with lovely sets by Troy Hourie, costumes by Howard Tsvi Kaplan
-and lighting by Ken Yunker.
-Dead at the age of 35, three months after the opera’s premiere
-on September 1791, Mozart unintentionally made his final
-statement of the human condition, with “The Magic Flute”
-springing from his quill virtually fully formed.
-The opera centers on the quest of young Prince Tamino (sung by
-Andrew Surrena), assisted by the comical birdcatcher Papageno
-(Matthew Hanscom) to rescue Princess Pamina (Hanna Brammer) from
-the hands of the sorcerer, Sarastro. As their quest unfolds,
-they soon learn that first impressions can be deceptive and that
-nothing in this mythical land is quite what it seems.
-The story opens with the killing of the serpent beast by the
-Three Ladies, beautifully sung by Catherine Swindle, Nicole
-Woodward and Annie Chester. Their playful bickering over Tamino
-provides a source of humor, and they play their roles with
-expertise.
-Surrena’s Tamino is a Mozart tenor whose voice is at once rich
-and full, yet balanced with lyricism. Hanscom’s lovelorn
-Papageno is strong on the welcome comic relief with a face
-created for comedy, if not a bit vocally heavy for the role.
-Brammer is captivating as Pamina with a lovely Mozart-style
-soprano that navigates from a childlike quality to the depths of
-womanly sorrow in her dejected aria “Ach, ich fühls.”
-As The Queen of the Night, soprano Alexandria Batsios easily
-conveyed the vocal fire necessary for the role, if not the ease.
-In her famously difficult aria “Der Hölle Rache,” one finds more
-fire than icy control.
-In the role of Sarastro, a high priest and sorcerer, Brian
-Kontes sang with authority and pathos, yet was missing the full
-strength at the bottom of his range. As his evil servant
-Monostatos, John Kun Park sang with clowning energy and joie de
-vivre.
-Happiness prevails when Papageno meets his better half in
-Papagena, an adorable Tatev Baroyan. They both manage to preen
-and cloy with aplomb and steal every scene.
-In counterpart to the Three Ladies, the Three Spirits were
-played by Youth Opera Artists Ashley Lewis, Genevieve Dilan and
-Mia Freeman, whose cherubic voices contributed the necessary
-wonder and balance to the storytelling.
-The production was supported by a strong company of singers who
-moved the story along, making this opera a delight.
-The production marks the main stage conducting debut of Martins,
-who serves as music director of the Sarasota Youth Opera. He led
-the fine Sarasota Opera orchestra with panache. The musicians
-performed with precision and expertise, providing a solid
-foundation for the cast and chorus, and creating a magical
-evening.