A lively, judicious 'Magic Flute'
By Richard Covello
Special to the Tribune
February 2 2004, 1:30 PM CST
It was a giant step for Opera Theatre of Highland Park last weekend. The
regional company began eight years ago under Marla Forbes' direction with
abridged versions of operas to minimal instrumental accompaniment, performed
in community houses and private homes.
Now this plucky group ventured out of Highland Park into Skokie's North Shore
Center for Performing Arts, presenting Mozart's "The Magic Flute" to a large,
enthusiastic house. It was sung in English with impeccable diction by all
15 cast members. Since several of the singers did double duty for the choral
portions and the orchestra consisted of 13 players, this might be called "The
Magic Piccolo."
With each instrumentalist in a treacherously exposed position, in contrast
to a full orchestra, it is to the credit of young conductor Francesco Milioto
that they were all well chosen and that his reduction of Mozart's score was
shrewdly achieved. His March of the Priests seemed excessively slow (there
were no priests to march around the stage so this passage was sensibly played
with the curtain down) and the momentous duet of the Armored Men had no impact.
Otherwise his conducting was lively and judicious.
There were two outstanding sopranos. Michelle Areyzaga's Pamina would be a
credit to any stage, completely luscious in sound, sensitively projected amid
the Center's good acoustics. As her vengeful mother, the Queen of the Night,
Sarah Gartshore was astonishingly accurate in her stratospheric coloratura,
with dramatic impact to boot.
I wish some production would indicate a reconciliation between her character
and Sarastro, the high-minded ruler of the temple of wisdom. If "The Magic
Flute" is an allegory of the universe, mustn't we have the Sun, personified
by Sarastro, as well as the Night ó man as well as woman? Stage director Michael
Kotze partially veered toward this interpretation. At any rate, the outrightly
misogynous duet for the Priests was omitted, no doubt to the relief of women
libbers.
Women scored more points with the mellifluous singing of the Three Ladies:
Jennifer Kethley, Kathryn Doren and Jessye Wright. And Sharon Quattrin was
a brilliant sounding Papagena, a surprising bit of casting since the role
is usually assigned to a light soubrette.
As Tamino, Jay Morrissey could not steady his tenor, perhaps due to indisposition
as artistically his intentions were admirable. James Martin, or director Kotze,
should realize that Papageno is a sure-fire role ó it automatically endears
the audience and almost plays itself. Martin's baritone is quite rich but
he really overdid the shtick. Ed Reicin's Sarastro sounded large but completely
unfocused.
Opera Theatre of Highland Park continues its ambitious plans. Next up is Zemlinsky's
lush, post-Romantic "A Florentine Tragedy" in what must surely be its Chicago-area
premiere, paired with Leoncavallo's "Pagliacci."
The double bill of "Pagliacci" and "A Florentine Tragedy" runs April 30 to
May 9 in Highland Park and Skokie. Call 847-433-6430.
Copyright © 2004, The Chicago Tribune