Mozart's The Magic Flute

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Saturday, January 04, 2014

Eric Owens as Sarastro, Heidi Stober as Pamina and Alek Shrader as Tamino Eric Owens as Sarastro ,Heidi Stober as Pamina and Alek Shrader as Tamino (Mary Sohl)

This Saturday at 1pm the Metropolitan Opera broadcast features Julie Taymor's production of Mozart's The Magic Flute.

This whimsical children's show is also a groundbreaking performance — at least for conductor Jane Glover. Not only is this Glover's Metropolitan Opera debut performance, but she is the third woman to conduct at the Met. 

The English-language production features a talented cast including Alek Shrader as Tamino, Heidi Stober as Pamina, Kathryn Lewek as Queen of the Night, Nathan Gunn as Papageno, and Eric Owens as Sarastro. 


Conductor: Jane Glover
Pamina: Heidi Stober
Queen of the Night: Kathryn Lewek
Tamino: Alek Shrader
Papageno: Nathan Gunn
Speaker: Shenyang
Sarastro: Eric Owens

Comments [9]

Kenneth Bennett Lane, Lake Hiawatha, NJ from Richard Wagner Music Drama Institute, Boonton, NJ

I speak 12 languages and so I still prefer to hear any work, be it pop songs, folk songs, lieder, oratorio or opera with the music composed to the the exact words intended by the composer. Being an opera composer, a singer with rep in ALL of the above-mentioned formats and a teacher of voice and one who trains actors in all the Shakespeare roles and big voiced singers in all the Wagner roles, I KNOW that the color of the words, their lilt and the accent and other factors that alter the musical configuration when translations are surrogated for the original words do indeed "pollute the waters." I speak from many years of having sung in world or American premieres of operas translated into English, with especially fine adaptations, that the composer's best efforts were not achieved, although many in the audience may have felt adequately served by the translation.; and

Jan. 04 2014 05:44 PM
The Marschallin from Manhattan, NYC

The language is becoming more of an issue now that singers work on their diction, and we are supposed to uderstand the words they sing! I for one speak French, German and English, having lived in the US fifty years, but in the past could understand none of these languages at the Met! So, yes I prefer the language in which the opera was written, especialy if the opera's music was written with/for the words or by the same person, but above all, I enjoy good diction in any language!

Jan. 04 2014 03:48 PM
Robert St.Onge from Cochiti Lake,NM

In shopping for music I have come across piano-vocal scores entitled "La flute enchantee", "Il Flauto Magico", as well as "The Magic Flute" and "Die Zauberfloete". What is it about performing operas in the language of the particular countries that makes some "purists" so irate? Singing operas in translation has always (toujours, sempre) taken place. Poulenc, after all, insisted that "Les Dialogues des Carmelites" be performed in the language of each country. So, was the MET wrong in performing it in French last season?

Jan. 04 2014 03:19 PM
The Marschallin from Manhattan, NYC

Oops! I meant K B Lane, not Weissman! Sorry!

Jan. 04 2014 02:59 PM
The Marschallin from Manhattan, NYC

Please note that I speak German, but that I found the English version presently aired deligthful, and a good intro for children on radio (no subtitles available) and even in the house, for those too young and distracted to read said subtitles.
KB Weissman would be more credible if he did not take advantage of the blogs to blow his own horn every time!

Jan. 04 2014 02:48 PM
Ellen Lienhard from West Chester, PA

Can only add a fervent Amen to comments by KB Weissman. My first opera was Hansel and Gretel, in German. I had read the libretto beforehand and of course knew the story so had no problem with comprehension. In this day of Met titles at every seat, there seems no reason for the use of English. Most hurtful, imho, is the use of a shortened version, leaving out some of the most sublime music Mozart wrote. Instead of pandering to shortened attenion spans, why not try a challenge instead?

Jan. 04 2014 02:05 PM
Kenneth Bennett Lane, Lake Hiawatha, NJ from Richard Wagner Music Drama Institute, Boonton, NJ

DIE ZAUBERFLOTE, THE MAGIC FLUTE, loses much of the composer's, MOZART's GERMAN lilt, its language's color, accents and rhythm. KIDS, no kidding, deserve to hear and see the real, echt, thing, not babying them, so condescendingly. ] am a Wagnerian romantischer heldentenor and director of the Richard Wagner Music Drama Institute. I will sing the four song cycles that are most often performed in their orchestral garb: Wagner's "Wesendonck Lieder," Mahler's "Lieder eines fahrenden Gesellen," Mahler's "Das Lied von der Erde" and Schoenberg's "Gurre-Lieder" at the New Life Expo at the Hotel Pennsylvania in NYC on Saturday March 22nd at 6 PM. I have sung four three-hour-long solo concerts in the Isaac Stern Auditorium of Carnegie Hall including programming the Wagner and the first named Mahler song cycle. I am the director at the Richard Wagner Music Drama Institute of Boonton, NJ. where I teach voice and train artists in all the Wagner and Shakespeare roles.

Jan. 04 2014 02:04 PM
The Maarschallin from Manhattan, NYC

Delightful! Like picking the fruit out of fruitcake, and leaving the cake!

Jan. 04 2014 01:54 PM
KB Weissman from New York, NY

Jane Glover is an exceptional conductor; why has it taken the Met so long to employ her? And why, for her debut, did the Powers That Be choose this bowdlerized version of The Magic Flute? Insulting, to say the least. Okay, it's good to get kids hooked on Mozart early; I can tolerate the English and even the cuts...most of them. But leaving out the overture? For shame, Peter Gelb, for shame.

Jan. 04 2014 01:17 PM

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