The magic Flute

With functions The Magic Flute, ends this fall season, winter and spring in Valencia "Palau de Les Arts”, which has combined the inevitable budget cuts, with a program based on five titles of different repertoires: La Bohème and The Barber of Seville, with two Verdi operas we're in the 200 anniversary of the composer Busetto- a popular and superconocida as Rigoletto, and a much less represented, but of undoubted appeal as I due Foscari, with the ever charismatic presence of Placido Domingo, baritone roles gotten into, while retaining its attractive timbre, and a line of truly unthinkable sing for their seventy-two years.

As well, all these productions had magnificent scenery, to the minimalist very attractive scenic mozartiana proposal but adds Die Zauberflöte.
Despite the reduction in securities compared to previous years, the Opera Palace Valencia, He has taken care of the musical results, vocal and stage of each of his operas scheduled, to which Brío Classic is devoting extensive and didactic reviews.
Die Zauberflöte is a work which could be called in different ways: grand opera, as called Mozart, It could also be ascribed to the genre of Viennese operetta or even a "Singspiel" as in the case of The Abduction from the Seraglio. Also like a fairy tale.
But nevertheless, its manifest Masonic iconography is evident, because from start to finish, the whole theme of this opera brings us to freemasonry. Take into account that Wolfgang Amadeus Mozart was a Freemason, and his opera singing is an on universal brotherhood. Its two main protagonists Prince Tamino with his beloved Pamina, They are introduced into the Masonic rite of passage.
One might think that this opera is just a parable of the struggle between good and evil, of the ridiculous and the sublime, of male and female elements. But nevertheless, Die Zauberflöte be considered a great work that brings together all these contradictions, extolling love associated with the search for truth, mutual solidarity, Justice, fraternity and tolerance.

As in all great Mozartian operatic creations, singing must prevail in its purest form: refined technique, vocal quality, expressivity.
Within vocal typology requiring Magic Flute, the character of the Queen of the night precise soprano freehold dramatic coloratura, joined push and bravura. Sopranil type that existing at the time of Mozart, and revisited in some operas of Bellini and Donizetti, by sopranos like Giuditta Pasta, Giulia Grisi, and in more recent times by the great Maria Callas: no longer exists. So, The role of the Queen of the Night is played lyrical light of great extension and easy mastery of agility.
As for the two main roles of Pamina and Tamino, require respectively: a lyric soprano certain width, good legato, dynamic domain regulations; Y, especially, a highly refined ridge line; and tenor of sufficient width for heroic face and dramatic moments.
Y, the character of Sarastro, of great importance throughout the opera, It requires a deep bass with a song of great nobility.
Finally, Let us quote, the birdman Papageno character baritonal, that must combine a comic action and lighthearted, more serious moments and certain drama.

Having said all that, to put the reader in history, always I want to make a constructive comment to this production of Teatro Regio di Parma The Magic Flute, which it was performed during six performances last April at the Opera Palace Valencia: first, you can perform a staging -atractiva- Minimalism tinting, created by Simon Corder, also responsible for the very successful design lighting that takes tremendous advantage of the easy stage show. Highlight, expressive ballet numbers, excellently resolved by acrobatic dancers, with superb choreography Duncan Macfarland.
The Coro de la Generalitat Valenciana (as usual) performs an outstanding performance led by its owner Francesc Perales, highlighting, especially in the impressive and very emotional chorus of Act II.
it is always necessary to comment on the quality of the Orchestra of Valencia, riddled with magnificent professionals able to fit many-colored repertoires: in this case the music of Mozart, Always great symphonic height, and director exposing knew with absolute brilliance.
In the vocal plane should highlight vocal and stage performance of the young Italian soprano grace Doronzio, who made an outstanding performance as Pamina, It is magnificent in all its interventions, especially, in his very complicated aria in Act II, “Ash, I feel it (¡Ay, I have the feeling)”, fulfilling a vast percentage, all benefits that requires vocal character, already pointed above; Y, showing despite its youth- in line with other major Paminas as, for example: Elisabeth Schwarzkopf, Gundula Janowitz, Anneliese Rothenberger or our Pilar Lorengar.
Also noteworthy is the magnificent Sarastro Korean low In-Sung Sim, with a fine and noble ridge line. His performance is very bright throughout the entire opera, highlighting its Act II aria "healing in these'Gene Hallen.
Remarkable and funny performance as Papageno Baritone Thomas Tatzl, next to the Papagena well sung and acted in Helen Kearns, who shows great body flexibility, when fully bent for quite some time, then appear as a slender young girl who captivates Papageno.

Leave it to the end what I consider looser entire cast: Queen of the Night soprano Mandy Fredrich, who sang her aria discreetly Act I "About zittre them, my dear son! (This portrait is enchantingly beautiful)"To improve its devilishly difficult aria in Act II"Hell's Revenge..” (Vengeance of hell ..)”
The Tamino Daniel Johansson, this, more or less acceptable, in their interventions with Pamina, Papageno and Sarastro.
Ya, the results are more discreet in his big scene of Act I "This portrait is already bezubernd (This portrait is enchantingly beautiful)”, if we compared with Fritz Wunderlich (Tamino best in history), elegantísima or the creation of young Nicolai Gedda, Pamina next to Elisabeth Schwarzkopf, Papageno and Giuseppe Taddei, take in the magnificent live 1953, led by the flaming baton of Herbert von Karajan; e, even, excellent creation, in more recent times, the Mexican Francisco Araiza, on taking video 1991, directed by James Levine from Metropolitan New York.
Anyway, a remarkable Magic Flute, especially some of the singers.