Los Angeles Opera brings back Barrie Kosky’s fanciful, silent-movie-era production of Mozart’s “The Magic Flute,” this time with James Conlon conducting and a cast of mostly emerging singers.
of the startling transformation of Mozart’s “The Magic Flute” into a live, not-so-silent silent movie. A hit at Barrie Kosky’s Komische Oper in Berlin, it was also the U.S. debut for the brilliantly provocative Australian director who Germany, and lately much of Europe, can’t get enough of.
Yes, of course, this is once more a wonderful show, great for the holidays; great for opera lovers, newbies and the whole family; great for Mozart; great for reminding us of the wonders of silent cinema. It’s even great for PR mavens who might as well help themselves to adjectives above and below.There is not a lot to say about this revival. For those who haven’t seen the production, simply let yourself be astonished. What worked before works still.
The cultish Sarastro, in fin-de-siècle top hat, represented pioneering French silent-film director Georges Méliès. Unlike singers in the earlier performances, Ildebrando D’Arcangelo brought a spiritual dimension to this first master of filmic magic. So Young Park, the spider-woman Queen of the Night in 2016, was again spectacular. Though masked, baritone Frederick Ballentine made an excellent meal of the lecherous Monostatos.
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