BY HARLEY ROACH | The Statesman Despite underlying themes of addiction, no drugs were necessary to enjoy UMD’s recent production of “The Magic Flute.”
It was immediately apparent by the turnout that the show would be excellent. I arrived about 15 minutes before the show was to begin and even then, the house was packed and the seat pickings were slim. Despite my not-quite-ideal seat, “The Magic Flute” still kept me entertained throughout the entire show.
UMD’s production put a unique psychedelic spin on “The Magic Flute.”
It was easy to see how this theme was reflected in the vibrant costumes, makeup, and special effects. Working with Weber Hall’s smaller stage, UMD’s Symphony Orchestra and Opera Studio surprisingly managed to fit the actors, the orchestra, and a mind-melting digital show onto Weber’s stage and screens.
The digital show itself was notably impressive. Courtesy of Joellyn Rock and the VizLab, the artwork gave the show a surreal quality. Throughout most of the performance, the screens were covered with dynamic, brilliantly-colored Egyptian motifs.
At some points, the digital show also provided an assist for certain stunts that would be tricky to pull off otherwise. For example, towards the end of the opera, Tamino and Pamina must walk through fire as their final trial. This scene was handled well by VizArts, who gave us an intense moment in which the silhouettes of the two characters cross a fiery field.
Because this production of “Magic Flute” was being performed for an English-speaking audience, most of the lyrics were translated from German. Translated operas can often be awkward, since one would like to maintain the original meaning of the words as well as the flow. However, the English parts of the opera flowed quite nicely, which was a pleasant surprise.
That being said, the songs that were left unaltered ultimately sounded more natural, and the singers were exceptionally confident and familiar with the German music. Fortunately for those of us not fluent in German, enclosed with the programs were helpful English translations of the lyrics.
One aria in particular, the Queen of the Night’s well-known “Der Hölle Rache,” a disturbing little number about a murder plot, is quite demanding of the singer. Both Katlynn “KT” Mueller and Kayla Mudgett portrayed the Queen, since both women were vocally suited for the role. I was only able to attend the first performance on Dec. 4, and Mueller nailed the aria perfectly. However, I have it on good authority that Mudgett did a wonderful job herself on Dec. 5.
Naturally, the rest of the cast delivered as well. All of the singers seemed to be having a wonderful time with their roles. Everything from body language to minor glances between characters were performed with clear enthusiasm and occasional humor, which added even more character to an already unique production.
Though the orchestra was nearly invisible among the colors and drama, they pulled off Mozart’s complex score without a hitch. Conducted by Rudy Perrault, the UMD Symphony Orchestra had a rich sound and guided the singers well.
Afterward, the cast warmly mingled with the audience as they filed out of Weber Hall, which seems to be a very pleasant standard for such performances.
I would certainly recommend attending one of UMD’s opera performances whenever the opportunity arises, since they’re always unique and well-done.