It was my second time watching Die Zauberflötebut but the first time watching it performed by UBC Opera. My friend and I attended in the sunny afternoon of February 3rd with a light-hearted mood. We both knew the plot of the opera and were expecting to be amazed and entertained by the dramatic story.
Die Zauberflöte is one of the most well-known masterpieces composed by Wolfgang Amadeus Mozart. It is a Singspiel as it combines spoken dialogue and singing. The stage setting was not quite exquisite with only four high pillars and some simple furniture such as coaches and chairs. This is understandable since the performance was made by students and there might be a limited budget. However, it made it hard to reproduce the fairy tale atmosphere of this imagined world in the opera. Nevertheless, the sounds from the singers and the orchestra were interesting enough to draw the full attention of the audiences.
It started with the E major overture which brought a powerful and solemn atmosphere suggesting the majesty of the Queen of the Night. Then the fugue pieces performed by various instruments presented a bright and gentle sense of picture as if the spring has just brought in its energy. Then the overture ended with a soft and peaceful feeling.
Act One introduced how the prince Tamino was rescued by the Three Ladies and tasked by the Queen to bring back her daughter Pamina from the chief priest Sarastro. The parts played the bird catcher Papageno, who was comedic as being dishonest and bragging at times, were a highlight. His songs were weirdly tuned and hilarious, which gave the audiences quite a bit of laughter. The acting of the Three Ladies was humorous as well when they showed their affection towards the prince by singing in imitative melodies and librettos one after another. It established their lively characters and brought out the dignified temperament of the prince. There was an interesting duet conducted by Pamina and Papageno when he tried to comfort her from fear and told her about the rescue plan. They sang in melodious and cheerful voices, which portrayed an optimistic mood.
Act Two presented the process of how Tamino and Pamina underwent a series of trials as requested by Sarastro. As the plot moved forward, it was revealed that Sarastro was an upright figure who kept Pamina captive only to protect her from being raised by the Queen and becoming wicked. The baritone’s voice had a rich and firm texture, which reinforced his representation of justice and leadership. His appearance always followed the ensemble of his subordinates, which helped to create a mysterious and majestic atmosphere. Then we heard the famous aria by the Queen with continuous high notes. It was beautifully accurate although not quite as powerful. There were several sensational duets between Tamino and Pamina, one of which Pamina was extremely upset as she was not aware of the trial requesting Tamino to remain silent in front of her; instead, she thought the prince suddenly turned away from her. The soprano sang her aria with full emotion and conveyed a strong sense of desperation. It was deeply touching.
It was a delightful and enriching experience to watch this classic piece again. The fact that German was not the first language of the singers might affect the quality a bit as the nature of the language could have added a more soulful taste to the voices. Overall, the performance was very nice and worthwhile.