SEATTLE OPERA The Magic Flute Feburary 22 - March 9, 2025 Review
THE MAGIC FLUTE
Seattle Opera
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Shikaneder
McCaw Hall
Seattle, WA
February 22, 2025 7:30pm
The latest production at the Seattle Opera is The Magic Flute. This version by 1927 and Barrie Kosky is an intriguing version to review. Some would say it's unlike any opera you’ve ever seen while others will say that is precisely why it is not an opera in the traditional sense.
On opening night, McCaw Hall was filled with many familiar faces as well as new ones. This is part of the lure of this production. It is well known for the music from Mozart but also the way it is presented is indeed very different from other opera productions.
The use of screens and projector(s), influenced by the silent era of film, makes for a show that is quite unique.
From a creative point of view, I could appreciate what went into making this version back in the day. The placement of the performers while incorporated into the animation screens was eye catching and interesting to watch unfold. The cues of where to be and when was almost a show in and of itself.
Seattle Opera
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Shikaneder
McCaw Hall
Seattle, WA
February 22, 2025 7:30pm
(Feb 22nd Cast: Brandie Sutton as Pamina and Rodion Pogossov as Papageno in "The Magic Flute" at Seattle Opera. Photo: Sunny Martini.)
The latest production at the Seattle Opera is The Magic Flute. This version by 1927 and Barrie Kosky is an intriguing version to review. Some would say it's unlike any opera you’ve ever seen while others will say that is precisely why it is not an opera in the traditional sense.
On opening night, McCaw Hall was filled with many familiar faces as well as new ones. This is part of the lure of this production. It is well known for the music from Mozart but also the way it is presented is indeed very different from other opera productions.
The use of screens and projector(s), influenced by the silent era of film, makes for a show that is quite unique.
From a creative point of view, I could appreciate what went into making this version back in the day. The placement of the performers while incorporated into the animation screens was eye catching and interesting to watch unfold. The cues of where to be and when was almost a show in and of itself.
(Feb. 22 & 23 cast: Sharleen Joynt as The Queen of the Night in "The Magic Flute" at Seattle Opera. Photo: Sunny Martini.)
However, this unique presentation didn’t really work for me. I found myself losing interest in the actual storyline as Act I progressed along. By Act II I was a bit more focused but I did feel like I was watching more of a movie than an opera.
I can say that when you closed your eyes, certain performances stood out vocally. Rodion Pogossov (Papageno), Brandie Sutton (Pamina), and Sharleen Joynt (Queen of the Night) each lit up the stage with their vocal prowess. Adding their voices into the animated presentation and you had an overload of artistry.
I believe that is the rub for this sort of creative departure of an opera. People are either going to really enjoy the creative presentation and execution or they’re going to long for a more traditional approach. This means for a first time opera attendee, it could go either way. They may like the show but then expect others to be like it in the future (which they are not) or it may be enjoyable enough to get them to come back for the next opera and be fine with the traditional approach. Or they could attend this show and not like it, thinking all operas are presented in this fashion (which again they are not).
My first timer that joined me is curious enough now to see a traditional opera production after seeing The Magic Flute. So, in her case, the format worked.
For me, I’m rather torn about it. If I had to choose between something like The Magic Flute VS a traditional opera production, I’d lean toward the traditional show.
Check out a performance and see for yourself.
“The Magic Flute” runs through March 9th. Tickets are available: HERE!
Best,
Mark Sugiyama
Eclectic Arts Media
Connect with Eclectic Arts Media: Social Media and Email Links
I can say that when you closed your eyes, certain performances stood out vocally. Rodion Pogossov (Papageno), Brandie Sutton (Pamina), and Sharleen Joynt (Queen of the Night) each lit up the stage with their vocal prowess. Adding their voices into the animated presentation and you had an overload of artistry.
I believe that is the rub for this sort of creative departure of an opera. People are either going to really enjoy the creative presentation and execution or they’re going to long for a more traditional approach. This means for a first time opera attendee, it could go either way. They may like the show but then expect others to be like it in the future (which they are not) or it may be enjoyable enough to get them to come back for the next opera and be fine with the traditional approach. Or they could attend this show and not like it, thinking all operas are presented in this fashion (which again they are not).
My first timer that joined me is curious enough now to see a traditional opera production after seeing The Magic Flute. So, in her case, the format worked.
For me, I’m rather torn about it. If I had to choose between something like The Magic Flute VS a traditional opera production, I’d lean toward the traditional show.
Check out a performance and see for yourself.
“The Magic Flute” runs through March 9th. Tickets are available: HERE!
Best,
Mark Sugiyama
Eclectic Arts Media
Connect with Eclectic Arts Media: Social Media and Email Links
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