A Singer’s Notes by Keith Kibler, 54: Mozart/Schikaneder, Die Zauberflöte at Hubbard Hall Opera Theatre

 

The cast and orchestra of Hubbard Hall Opera Theatre’s production of Die Zauberflöte. Photo Pete Carrolan.

Mozart/Schikaneder, Die Zauberflöte at Hubbard Hall Opera Theatre
Directed by Paul Houghtaling
Conducted by Kelly Crandell

The most accurate way I can sum up Hubbard Hall Opera Theatre’s Die Zauberflöte (The Magic Flute) is that it is direct. This is in fact, a compliment of the highest order. There is no pretension here, no fussiness. Paul Houghtaling’s direction is self-effacing. The clean, pure lines of the opera are brought to life in the practicality of the set and the actions of the singers.  A circular walkway encloses the orchestra, making Mozart’s music the central player. The performance itself seemed to me a splendid and solemn ritual, enacted around the players, ably led by conductor Kelly Crandell and concertmistress Irene Fitzgerald-Cherry. The comic elements were, for once, in balance with the more serious tone to which the music returns incessantly. Brian Kuhl’s steadfast Tamino and Mary Thorne’s clear-voiced Pamina were priest-like in their steadiness and pristine vocalism. Charles Martin as Sarastro sang instead of orated, and in his second aria showed tenderness as well as strength. Of course, Andrew Pardini stole the show as Papageno — Schickaneder knew what he was doing.

Read the full article on the Berkshire Review, an International Journal for the Arts!