The overture's mystical opening pillars were given ample space to breath, while the ensuing fugal exposition was crisp, the strings and winds delightfully pointing up the offbeat accentuations. Spano was in excellent control of the opera throughout. Aaron Pegram was an appropriately devious Monostatos, but his singing was rhythmically insecure, and Robert Spano visibly had to struggle to keep Pegram in sync with the orchestra in Act II's "All feel the joys of love." Morris Robinson had great presence as Sarastro, but the imposing voice lacked the last bit of nuance that can make this role more complex. Some of the smaller male roles were good if lacking in certain regards. Her voice is creamy, fully-formed and flexible and her amorous interactions with Portillo were wholly believable. An HGO Studio artist in the 1990s, Nicole Heaston was warmly welcomed back to Houston and gave a superb account of Pamina. David Portillo was vocally splendid as Tamino, and gave off an infectious youthful optimism. She effectively channeled Margaret Hamilton's Wicked Witch of the East, creating the perfect villain we can't help but love.
Rightly renowned for her Queen of the Night, Kathryn Lewek brought the house down with her two big arias, effortlessly tossing off coloratura and possessing a depth and evenness of tone from top to bottom. Papageno's costume is not a bouquet of plumage as in some productions, but a tasteful disguise that allows Michael Sumuel's excellent facial expressions to align with his superb vocal delivery, making his scenes consistently memorable. The cast are dressed in finely-detailed costumes that don't dote on detail but accurately represent the dynamics of their individual characters. A grand wall frames the action and can be split by a thunderbolt, the remnants of which act as an omnipresent reminder that we are in an enchanted world. The visual design is simple and impressive.
Sung in a tasteful English translation, the opera newbie will find this an excellent introduction to the artform, while the production standards are high enough to delight the seasoned operagoer. This is a vivid, modern and thoroughly enjoyable affair. The Magic Flute was intended to be a visual and vocal surprise, and Houston Grand Opera's current production delivers on both counts. Ian Rutherford (director), Bob Crowley (set and costume designer), Nick Chelton (lighting designer)
Houston Grand Opera Orchestra and Chorus, Robert Spano (Conductor) 622ĭavid Portillo (Tamino), D'Ana Lombard (First Lady), Megan Samarin (Second Lady), Carolyn Sproule (Third Lady), Michael Sumuel (Papageno), Kathryn Lewek (Queen of the Night), Aaron Pegram (Monostatos), Nicole Heaston (Pamina), Morris Robinson (Sarastro), Hannah Haw, Brooke Camryn Caballero, Eden Nielson (Three Spirits), Patrick Carfizzi (Speaker of the Temple), Pureum Jo (Papagena) Wolfgang Amadeus Mozart: Die Zauberflöte, K.
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