The Magic Flute Nov. 17, Curtis Opera Theatre

On Nov. 17 Curtis Opera Theatre opened a four-performance run of Mozart's final opera at the Prince Music Theater with a bang. An odd blend of Masonic allegorical high-mindedness and low comedy, The Magic Flute channels an inherent duality of sublimity and shtick, perhaps why director Emma Griffin chose to present English dialogue alongside singing in the original. The cast articulated the sung German reasonably well, but this comprehensible compromise solution produced an uncomfortable gear shift every time the dialogue began—especially, in this case, when some of Curtis' young artists resorted to campily ironic TV-speak. Otherwise Griffin, most of whose credits are theatrical rather than operatic, did an admirable job in giving pace, shape and a pleasing aesthetic to this deceptively difficult work.

In creating striking images she was aided by the skilled professionalism of David Zinn (sets) and Mark Barton (lights); but Meredith Palin's outrageously colorful and interestingly silhouetted costumes really set the tone. (All three worked together to craft a striking, applause-garnering entrance for the Queen of the Night.) Palin made two odd choices for the "high" leading couple: Brenden Patrick Gunnell's Tamino resembled a rugby jock; Rhoslyn Jones' Pamina, Alice in Wonderland. These young nobles gained gray hair (wisdom?) as a result of their final trial; a striking image, but isn't the renewal—by youth—of the community at stake here?

Everyone onstage showed vocal talent. Gunnell used his Steve Martinish persona to create a sly parody of the priggishly Boy Scoutish prince while singing Mozart's music with considerable art and tonal finish. Jones sports an attractively timbred soprano that already sounds too large for Pamina's needed purity of tone. Rinnat Moriah dispatched the Queen's fioriture and five killer high Fs with more panache than many professionals. Jonathan Beyer's decently voiced Papageno had stage personality to burn, a real gift; but away from venues filled with supportive friends, audience favor is something to be earned, not presumed upon. He and Allison Sanders' spirited, bright-toned Papagena did eventually provide considerable merriment. DeAndre Simmons (Sarastro) and Elliot Madore (Speaker) both produced pleasingly mellow sounds, if not the consistently authoritative low tones their parts invite. Special praise for the fabulously attired Three Ladies (Heidi Melton, Alexis Barthelemy and Elif Ezgi Kutlu), who sang very well and shimmied delightfully.

Rossen Milanov led the fine players in this wonderful score (trimmed of some choral parts) with supportive aplomb.