After a brief hiatus, opera returns to the
NCPA's main stage with Mozart's Magic Flute, a co-production of the Centre, the
Norwegian National Opera & Ballet, and
Opera Hong Kong. It is a work of multilingual art: Emanuel Schikaneder's German libretto, recitative in English, stage props with letter art in both languages (at the gate of Sarastro's temple, the words "Nature" and "Vernun"), and a good number of [improvised?] Chinese injected into the recitative (all by Papageno). The production team of Warren Mok, Chen Ping and Per Larsen adds conspicuous Chinese elements, including Papageno's Chinese hunter costume, a dragon to replace the serpent at the beginning of Act I, and twelve Chinese zodiac animals (with funky fluorescent heads and tails) to be called up by Tamino's flute.
In yet another evidence of the production's deference to the fluorescent plasticism of the 60s and 70s, the chorus in both acts carries fluorescent light sabers that remind me of Achim Freyer's Act I in Walkure. Some design elements are simple but effective: the chief temple is depicted by a piece of backdrop drapery with nothing but a simple printed circle, while the pyramid scene is decorated with another piece of drapery with an encircled triangle (the circle and triangle depicting, respectively, Sarastro's temple and the pyramid). Other designs are more elaborate, including the penultimate scene where Monostatos and the Queen are to slowly climb a flight of ascending stairs, only to be cast into eternal darkness with the stair prop moving sideways to stage right and lighting dimming to a ghostly effect. The glockenspiel prop is a little bit more curious, because instead of the more traditional handheld glock or tuned tam-tam, it is depicted more metaphorically with what looks like (at least from my balcony seat) a bronze sistrum or a muffed-up sleigh bell.
Mimma Briganti's Queen makes a spectacular entrance from above using wires and dazzles with a fantastic start to "O zittre nicht". In an ending that sadly mirrors her entrance, she crash lands (pun intended) by chicken scratching the high F. Even though she would end her evening by blowing her other four Fs in quite dramatic fashion in "Der Hölle Rache", the audience nevertheless appreciates her effort with a gracious round of applause.
Eric Margiore's Tamino is too lightweight for NCPA's monstrous space, and is evidently overwhelmed by Inna Dukach's Pamina in the duet "Wir wandelten durch Feuersgluten" and in the quartet "Der, welcher...Beschwerden".
I always believe Magic Flute's dramatic crux rests with Papageno's comedic overtones, and in this respect baritone
Brian Montgomery does not disappoint. He is sassy and funny, and is able to lid up lighting designer David Jacques' rather somber ambiance. In terms of singing, Montgomery's "Der Vogelfänger bin ich ja" sounds hesitant and tired (probably due to his need to climb up and down the set), but he fully redeems himself with a good-natured and well-sung "Pa-Pa-Pa".
Able to radiate Pamina's two distinct personalities --naive playfulness and pensive melancholy --
Inna Dukach is perfect for the role and is the star of the evening. Her voice is deep, with a rounded vibrato -- listening to her is like pouring sweet honey over warm caprino while candle light flickers in an air of subtle evening lust. But I digress.
Mika Kares steals some of Dukach's stars with a commanding Sarastro, delivering "O Isis und Osiris" with plenty of regal power and paternal authority. Meanwhile, the three ladies are feisty and well-acted but sound at times disoriented and lacking tonal balance. Conductor Jari Hämäläinen frequently modulates his speed, with Queen's both arias running under tempo and "Der Arme kann..." running dramatically ahead -- with the latter's acceleration rewarding the audience with a more dramatic interchange among Tamino, Papageno, and the three ladies.
To be honest, it's hard for me to be awed by any contemporary Magic Flute production, and this one is no exception: it seems to me nearly impossible to cast for the production today --Magic Flute requires a bright leggiero tenor and a lyric soprano against a scintillating Queen and baritone who can both sing and act. (How about JDF, Fleming, Damrau and Pisaroni?) Nevertheless, I must admit this Magic Flute is still quite entertaining, with some interesting multicultural elements and a few laughs ("北京烤鴨", or Peking Duck making a cameo in Papageno's recitative) that make the evening seem shorter than it really is.
