Rolando Villazón’s Papageno @ The Met

Above: Rolando Villazón rehearsing the role of  Papageno; a Met Opera photo

Saturday December 18th, 2021 – Though I would like to have seen The Met’s Julie Taymor MAGIC FLUTE again, financial constraints decided me to get score desks for all but a couple of Met performances this season. One of the main draws for FLUTE this time around was to hear Rolando Villazón essaying the role of Papageno. When Villazón’s career as a primo tenore faltered a few years back, he shifted into different repertory. But I believe his taking on Papageno might be a first step towards joining the ranks of baritones. 

In the event, though he was HUGELY cheered at his solo bow, Villazón’s Papageno didn’t really work in vocal terms. His voice is no longer very attractive, being a bit dry and lacking in resonance. Much of the time he semi-spoke his musical lines, whilst the actual spoken passages, charmingly accented, were not always understandable. He made bird noises from time to time; his rooster crow was hilarious. It struck me that Placido Domingo in his 80s has more voice at his disposal than Villazón, who is not yet 50.

The remainder of the cast has its pluses and minuses. Outstanding were Matthew Polenzani’s beautifully turned phrases, exquisite piano notes, and clear diction as Tamino, and the rich and rolling sound of basso of Morris Robinson, whose diction was also superb, as Sarastro. Patrick Carfizzi’s Speaker, Rodell Rosel as Monostatos, and Ashley Emerson’s Papagena were excellent, making much of their roles. Daryl Freedman’s Third Lady and Adam Lau’s Second Guard stood out. 

Kathryn Lewek dazzled with the Queen of Night’s first aria, climaxing with a sustained high-F; later, in her Vengeance aria, Ms. Lewek’s singing was not quite as impressive as she has been in previous seasons. Hera Hyesang Park’s attractive lyric timbre acquired an edgy quality when she put too much pressure on the tone higher up. Felicia Moore has impressed me on YouTube, but today as the First Lady she sang well but not memorably, though the voice blossomed more as the afternoon went on. Sarah Larsen was fine as the 2nd Lady, Matthew Burns and Mark Schowalter spoke clearly as the Priests, and Richard Trey Smagur was a forthright 1st Guard. The Three Spirits were under-powered and pitchy; I hope when The Met gets a new ZAUBERFLOETE, the music of these Three Spirits will once again be sung by petite women, of the same ilk as Suzanne Adams, Christine Weidinger, Frederica von Stade, Helen Vanni, and Joann Grillo, all of whom were Spirits at The Met over the years.

Jane Glover’s conducting was well-nigh perfect, and the orchestra played well; Chelsea Knox’s flute solos fell gracefully on the ear.

An annoying child in the Family Circle whined and muttered often throughout the opera, and the sound of moving sets around behind the drop curtain during “O Isis and Osiris” spoiled that beautiful passage. But…all’s well as ends well. As the Three Spirits remind Papageno – and us: “You have a life, so live it while you can!”

Saturday December 18th, 2021 matinee
THE MAGIC FLUTE}
Wolfgang Amadeus Mozart

Conductor....................................Jane Glover

~ Oberon