MOZART’S MAGIC
Composer’s final opera enchants audiences with its masterful music,
There’s magic in The Magic Flute that extends beyond the flying machines and monstrous creatures of the story.
It’s also the music itself, say the cast and crew of the Canadian Opera Company production opening Thursday at the Four Seasons Centre.
Mozart’s last opera before his death “is the perfect opera; it contains both popular and highly sophisticated aspects of music in one genuine and unique masterpiece,” says Canadian conductor Bernard Labadie, who is making his COC debut with Flute.
The former artistic and music director of Opéra de Québec is no stranger to this opera, having conducted it three times before, including with the Metropolitan Opera.
“It speaks to children as well as to experienced theatregoers. I cannot think of an opera that has more universal appeal.”
The COC production tells the story of a nobleman throwing a name-day party for his daughter, with the highlight being a performance of The Magic Flute, which is then performed by the guests, servants and family members. Prince Tamino, with trusty Papageno by his side, performs feats of heroism to rescue his love, Pamina, from the forces of evil. They are armed with a magic flute and set of magic bells.
Many of the young cast are former members of the COC’s Ensemble Studio training program, including director Ashlie Corcoran, who was assistant director to Diane Paulus in the company’s production in 2011.
“It’s such a thrill to be back now, working with the staff and artists here in Toronto that I admire so much and that have encouraged me over the decade.”
What makes the opera magical, she says, “is the music. There literally isn’t one bar of unhummable music in this whole score. It is now the constant soundtrack of my life, play- ing in the back of my mind as I converse, eat and even sleep.”
The music is integral to the storytelling, she says. “The music sets up the tone or style of the piece, which to me is witty and playful. It also gives such incredible cues about the characters, their motivations, needs and desires.”
Soprano Ambur Braid actually gets to be part of the “magic” in the opera as she portrays the mythical Queen of the Night, who sails above the characters in her sky chariot. It is the role she played in the Ensemble production in 2011.
“I’m thrilled to be back in black for this production,” she says, referring to the black leather corseted dress she wears. “The Queen has some of the most exciting music ever written. That is one of the reasons why this show is so fantastic and so wellloved. The characters in The Magic Flute are all larger than life.”
The only other time soprano Kirsten MacKinnon performed in this opera, she was 10 years old playing the first spirit with the Vancouver Opera. “I had a blast. That was the beginning of the end for me: I fell in love with opera right away.”
Now performing the role of Princess Pamina in her COC debut, she says, “Magic Flute is irresistible to me because of how goofy it is. Papageno is my favourite. He’s just the right kind of weird, you know. Sometimes all you need is some high art with a sprinkle of ridiculousness.”
Tenor Andrew Haji, who plays Prince Tamino, agrees.
“I love a story that transports you to a place where you’re free to let your imagination go. The Magic Flute is one such opera. Right off the top, you see Tamino being chased by a threeheaded serpent and you instantly know that this is going to be a fantastical place.”
Tenor Owen McCausland, who alternates in the role of Tamino, says, “For me the most magical thing about this opera is the music itself. I think Mozart really endeavours to demonstrate music’s ability to better ourselves.”
There are two love stories told in Flute: Tamino’s quest to save Pamina and bird catcher Papageno’s search for his perfect partner, Papagena.
“I get to hop in at the end and sing a really charming duet,” says soprano Jacqueline Woodley, who plays Papagena. “It’s such a fun reveal to pop out as Papagena and I suppose the audiences are as excited to wait for her as Papageno.
“And who doesn’t love a really cute, charming love story?”
She too refers to the magical spell cast by the score.
“Mozart is the true genius and magic behind The Magic Flute. This music is at times sublime, funny, dramatic, beautiful, silly and delicate.”
Mozart died in December 1791, three months after Magic Flute’s premiere. He was 35. The Canadian Opera Company’s The Magic Flute is at the Four Seasons Centre for the Performing Arts, 145 Queen St. W., Jan. 19 to Feb. 24. See coc.ca or call 416-363-8231 for tickets.