Over the course of their history, the LA Opera has performed Mozart’s The Magic Flute during its seasons in 1993, 1998, 2002, 2009, 2013 and 2016. In 2013 they presented Barry Kosky’s production and hit the equivalent of a goldmine. The production returned three years later and lo and behold, it is back again (will this be an every three-year thing?) The Magic Flute opens this Saturday and will have a total of six performances.
What makes this production unique? By far and away its biggest draw are the visuals. Kosky found a way to include animation (by Paul Barritt) to create the world in which this opera takes place.
At various moments the production appears to be part of a silent movie, it seems to have stepped out of Fantasia and also feels like it is anime and/or a video game.
In The Magic Flute, Tamino is a young prince who is in love with Pamina. In order to make her his bride, he has to endure a series of tests. At one end of these tests is Sarastro, a high priest who encourages Tamino. On the other end is the Queen of the Night, who wants to destroy Sarastro and bring Tamino and Pamina under her control. Sarastro and the Queen of the Night are polar opposites (he a force for reason, she a force for irrationality.)
Tamino will be performed by Bogdon Volkov for the first four performances. Joshua Wheeker takes over for the final two. Zuzana Marková sings the role of Pamina. The Queen of the Night is sung by So Young Park. Sarastro will be sung by Ildebrando D’Arcangelo. Papageno, the bird catcher who first finds Tamino in the opera, is sung by Theo Hoffman.
James Conlon will direct the first three performances. Grant Gershon will direct the final three.
If you think you have only heard of The Magic Flute, but don’t know its music, perhaps I should remind you of a current Volvo commercial:
The Los Angeles Times had an interesting article about selling a car with music by one of the most heinous characters in opera.
For tickets go here.
Photo from the 2016 LA Opera production of The Magic Flute by Craig T. Mathew/Courtesy of LA Opera