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The real sound of music in MOT's 'Magic Flute'

By Michael H. Margolin

If you respond to economic pressures and reduce your spring season by a third, then you must choose wisely for the remainder. David DiChiera, Michigan Opera Theatre's mastermind, has brought Detroit a gift of spring with an enchanting production of Mozart's "The Magic Flute," cast it beautifully and let the good times roll on opening night at the Detroit Opera House.
The production came from the Opera Company of Philadelphia: Boyd Ostroff's handsome set, like a cross between "Ariadne auf Naxos" and "Swan Lake," brings the original libretto, set in some ancient past, to the Romantic movement of the 19th century, which bears up very well under the story of a search for love and glory.
Richard St. Clair's period costumes with a hint of the Grecian for members of the Temple devoted to Isis and Osiris are parenthesized by whimsy: The Three Ladies, first seen at the top of the curving staircase flowing into a huge tree trunk bridge, appear to be Valkyries auditioning for "Priscilla, Queen of the Desert." They wear bejeweled headdresses with feathery fronds, short dresses with sassy skirts and fitted bodices. But just as the voices blend, the palette and the styles work together as the melange did in Propeller's "Richard III" in the recent presentation of Ann Arbor's University Musical Society.
Among the first voices we hear, the Three are a wonderful blend of soprano voices who move like sylphs on a mission: They are Kimwana Doner, Sarah Nisbett and Kathleen Segar (one of the best mezzos in the Detroit area).
From there on, the vocal qualities of this production are nearly flawless and the degree of physical dexterity in this mostly young cast, ranging from young children to adolescents to adults and some mature singers, is joyful to watch.
Dorothy Danner gets a big thumbs up for keeping the light moments light, the darker moments elegant and spot on, and each singer in character. Near the end, when Papageno sings of married life and being surrounded by children, she brings on a flurry of kids who leap and jump and somersault as if the libretto had come to life; though not credited, could these be some of the kids from the wonderful MOT Children's Chorus?
Still, the music is in the throats and in this production, sung in English (surtitled) with dialogue in English (not) there were some fine vocalizations.
As the quester after love and glory, Tamino, the Prince, is sung by tenor David Miller – of Il Divo fame – and he has a clarion tenor vested in a tall and elegant physique; the voice rose and crested with vigor – though one would have liked some coloring to elicit more feeling. His opposite number, Pamina, was sung by Katherine Whyte in one of the memorable outings of the 2010-11 season so far. Her lithe soprano caressed the notes and her second act aria on her mortality was so beautifully shaded with plangent emotion that it was worth an encore.
There is also the famous role of the Queen of the Night with her two fiendishly difficult coloratura arias; in this case, returning several seasons after her superb "Lakme," Aline Kutan produced the pinpoint high notes with precision and fire, her reflecting costume echoing the vocals – a witty touch by designer St. Clair.
In one of the two lead deep male voice roles, Michael Mayes' keen and supple baritone is a delight, and he moves like an acrobat, performing somersaults, leaps and deft comic running. He can be seen on the Web site Barihunks, talking about why "Flute" is an opera for children. (Well, yes, sophisticated children of 12 and up.)
The other deep, dark voice is the godlike elder of the Temple who sets Papageno and Tamino on their journey to become worthy of love. Sarastro is sung with a velvet and honey bass by Peter Lobert. He commands the stage with his presence and voice.
Elsewhere the singing and characterizations were very good: As Monostatos, not quite a villain, Brian M. Leduc made him a disreputable sort who glowered and grimaced and danced about in frustration; the Three Spirits, Alina Matthews, Alex Capeneka and Kristine Overman, raised their young, sweet voices with youthful professionalism.
Supporting this first-rate cast were Andrew Gray (Speaker of the Temple), Edward Hanlon and Jason Wickson (Priests and Men in Armor) and a very pretty Alexa Lokensgard as Papagena who earns Papageno's affection in the form of a funny old lady and then the svelte, young paramour.
The MOT orchestra, under the baton of Stephen Lord, sounded heavenly – and the chorus of MOT was empyrean, too; how chorus master Suzanne Mallare Acton pulls that magnificent sound from her chorus is as mysterious to me as the rites of the Temple of Isis and Osiris. Maybe she is the queen of last night.

REVIEW:
'The Magic Flute'
Michigan Opera Theatre at Detroit Opera House, 1526 Broadway, Detroit. April 13, 15-17. $29-$121. 313-237-7464. http://www.michiganopera.org

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