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~ Author: Oberon

Saturday December 21st, 2019 matinee – The Met’s shortened, English-language version of Mozart’s DIE ZAUBERFLOETE may not be as musically fulfilling as hearing the original, but it does afford an opportunity to hear lots of voices – from Met veterans to newbies – in one fell swoop, and thus I am likely to go two or three times each season that it is on offer. Although the cuts are irksome, and Papageno is too much the center of attention, there’s still enough opportunities for the singers to make their mark.

The House was full of children today, and with people who’d forgotten to turn off their cellphones. The kids were receptive during the music, but some longish stretches of dialogue prompted then to have audible monologues of their own. Is it really necessary, in a 100-minute reduction, to bring up the Seven-fold Shield of the Sun? I suppose it really doesn’t matter, since apparently this is the last season we’ll see this production. (Or might they have a new ZAUBERFLOETE, and keep this Taymor holiday season specialty around?)

Lothar Koenigs was on the podium this afternoon; his tempi were mostly spot-on, but there were some places where stage and pit were not totally in-sync. The Three Genii were unfortunately a weak trio vocally, and at times sounded a little like The Chipmunks. The Three Ladies – Gabriella Reyes, Megan Esther Grey, and Renee Tatum – sounded good individually, but did not always mesh well; the conductor seemed at times to leave them adrift. (Is Megan Esther Grey related to the great Wagnerian soprano, Linda Esther Grey? I will try to find out.)

Ashley Emerson’s Papagena managed to get the words across when doing her “old lady” voice: no mean feat. Once transformed, she sang brightly. Rodell Rosel was an audience favorite as the crafty Monastatos. The Priests (Christopher Job and Scott Scully) and Guards (Arseny Yakovlev and Jeremy Galyon) did well.

Joshua Hopkins sang excellently as Papageno, and the audience loved him; his referring to the Priests as “coneheads” was priceless. David Portillo’s attractive tone and appealing lyricism made his Tamino a winning vocal presence, with a nice feeling of tenderness. In his scene with Patrick Carfizzi’s Speaker, to my mind the key to the whole opera, both singers were clear of diction and dramatic intent. Mr. Portillo’s “O endless night!” was moving; and later, his “Music is the heart’s true home…” seemed to express what this opera is all about.

Joelle Harvey’s vocal shimmer at “Be truthful!” was engaging, as was her self-defense to Sarastro. She made a lovely, vulnerable impression in Pamina’s aria with her expressive dynamic palette and persuasive phrasing. At her “Tamino mine!” a sense of radiance was met by Mr. Portillo’s ardent response. The two sang gently and sweetly in the quartet with the Two Guards.

Kathryn Lewek’s Queen of the Night gave the afternoon its spark; after swirling thru the coloratura of her first aria, she sustained the high-F: an exciting moment. Her “Wrath of Hell” had great accuracy and brilliance, the high-Fs slightly metallic but hitting the bullseye each time. On her final command, “Swear!”, the soprano took a soft attack and then swelled the note to white-heat. She won vociferous applause here, and again at her solo bow. She has amply proven herself in this demanding role several times; I hope now we can hear her as Lucia or Constanze. 

Spectacularly anchoring the performance was Morris Robinson’s Sarastro: generous of tone, crystal clear of diction, and benevolent by nature. A grand performance from this formidable basso. Bravo!

All afternoon, much of the spoken dialogue seemed over-wrought and campy; Papageno tended to shriek at the least provocation. David Portillo as Tamino spoke with a slight, charming accent: not amiss, as this prince has come from afar.

~ Oberon