United States Mozart, The Magic Flute: Soloists, Chorus and Orchestra of the Metropolitan Opera / Erina Yashima (conductor). Metropolitan Opera, New York, 11.12.2025. (RP)
There is a first time for everything, including Julie Taymor’s production of The Magic Flute. For me, it came in the family-friendly, 90-minute version that has become a holiday staple at the Metropolitan Opera. First seen in 2006, Taymor’s production emphasizes the fantastical elements of Mozart’s Singspiel and incorporates elements ranging from traditional Japanese puppet theatre to a futuristic realm. The rotating mirrored cube, which reveals constantly shifting shapes and dimensions, jettisons the production into another galaxy.
In the opening scene, menacing birds, somewhat like the Dementors in the Harry Potter novels, soar through the sky as an enormous dragon, supported by black-attired kuroko (the silent stage crews used in Japanese bunraku puppet theatre), pursues Tamino. Far more friendly, colorful birds flock around Papageno during his entrance aria. Fantastic flamingos, who are dancers on stilts, help him shake off his gloom before he meets his Papagena.
The Three Spirits, who serve as mystical guides for Pamina, Tamino and Papageno, are wizened, white-haired men who float in on a giant skeletal bird. Suitably for its intended audience, the serious elements of Freemasonry are treated with a light touch. The priests who guide them through the much-abbreviated trials of fire and water are more jovial than stern. Equally fast-paced is the vanquishment of the Queen of the Night and her henchmen, followed by the briefest general rejoicing.
J. D. McClatchy translated and updated Emanuel Schikaneder’s libretto for this abridged, intelligent and singable version, and the Met’s fine cast sent their words with extraordinary clarity into the auditorium. Titles are projected, but children, as well as a fair share of the adults, had their eyes glued on Taymor’s rapid progression of visual treats. The children’s awe and laughter enlivened the experience.
The target audience may be younger than the average Met audience, but there was no stinting on the musical values. Joshua Hopkins’s hearty Papageno brought wit and bonhomie to every scene in which he appeared. It was a shame to have ‘Der Vogelfänger bin ich ja’ end after a single verse, but most of the scene in which Papagena uses his magical bells to summon Papagena was intact. The delightful ‘Pa-Pa-Pa-Papageno’ duet with Maureen McKay’s Papagena, who this version transforms into a major character, was a delight.
Joshua Blue sang superbly, his tenor as noble as the princely Tamino whom he portrayed. HIs ‘Dies Bildnis ist bezaubernd schön’ was enriched by both his golden tone and elegant style. As Pamina, Erin Morley’s lyric soprano was particularly warm and rich in ‘Ach, ich fühl’s’, her innate grace instilling the multiple dilemmas she faces with truth.
As the Queen of the Night, Aigul Khismatullina was magnificently attired in huge, architectural, almost surreal costumes. The Russian soprano tossed off the high-F’s with pinpoint accuracy, and her accented English brought a sinister touch to the Queen of the Night’s threats.
Matthew Rose’s radiant bass and the warmth of his personality made for a singularly human Sarastro. This was exemplified in his natural acting throughout and the vocal ease of his ’In diesen heil’gen Halle’. In his Met debut, Zhengyi Bai was terrific as twisted Monostatos, ever eager to frighten by flashing his protruding belly encased in leather straps. Le Bu lent his stentorian bass to the Speaker’s declamations.
Kathleen O’Mara, Emily Treigle (granddaughter of the legendary bass-baritone Norman Treigle) and Daryl Freedman lusted after Tamino with glee, singing with equal gusto in every scene. The Three Spirits, Nico Hwang, Deven Agge and Ori Wosner, had clear voices, while their pale, wrinkled faces wore a curious all-knowing, cynical look.
Mozart’s score unfolds fast in this condensed version of The Magic Flute. Dramatic twists and turns, which may take minutes to play out in the full opera, unfold in seconds. In her Met debut, conductor Erina Yashima mastered this high-wire act with aplomb. Each aria and extended scene had the appropriate space, but she kept things moving. The Met Chorus had ample opportunity to shine, while the orchestra played with lightness and sparkle.
Purists may shun this holiday Magic Flute, but the Met was full for the first run of the season. At 90 minutes, it holds the attention of children, first-timers and even those who know the score by heart. Mostly importantly, the music retains its magic.
Rick Perdian
Featured Image: Aigul Khismatullina (Queen of the Night ) © Ken Howard/Met Opera
Production:
Production and Costumes – Julie Taymor
Revival stage director – Eric Sean Fogel
English adaptation – J. D. McClatchy
Sets – George Tsypin
Lighting – Donald Holder
Puppet designers – Julie Taymor, Michael Curry
Choreographer – Mark Dendy
Chorus director – Tilman Michael
Cast:
Tamino – Joshua Blue
Three Ladies – Kathleen O’Mara, Emily Treigle, Daryl Freedman
Papageno – Joshua Hopkins
Queen of the Night – Aigul Khismatullina
Attendants – Stephen Paynter, Kurt Phinney, Craig Montgomery
Monostatos – Zhengyi Bai
Pamina – Erin Morley
Spirits – Nico Hwang, Deven Agge, Ori Wosner
Speaker – Le Bu
Sarastro – Matthew Rose
Priests – Christopher Job, Scott Scully
Papagena – Maureen McKay
Guards – Eric Taylor, Matthew Anchel
Solo Dancer – Maxfield Haynes
Flute Solo – Chelsea Knox