Took their time... but finally Opera News released their revue of the American Premiere of Das Labyrinth (In which I played Pamina). Yay! NEW YORK CITY Amore Opera 10/16/13 In October, Amore Opera that energeticupstart on Manhattans Lower East Side offered The Magic Flute II: Das Labyrinth, billed as the American premiere of the 1798 singspielby composer Peter von Winter and librettist Emanuel Shikaneder. Das Labyrinthenjoyed success for a decade following its premiere but has since been lost in the footnotes to its ubiquitous prequel. It was resurrected for its first modern, authentic staging at the Salzburg Festival in the summer of 2012. Amore brought Das Labyrinth to New York City in a production by the companys artistic director, Nathan Hull, at the Connelly Theater (seen Oct. 16). In Das Labyrinth, Schikaneder, who created the role of Papageno as well as the Zauberflöte libretto for Mozart, warps the straightforward storytelling of Flute with multiple characters and storylines, making it feel like a sprawling variety show. Only one character emerges from the din Papageno, the sidekick turned reluctant hero. When Pamina is kidnapped from Sarastros temple by her mother, Luna, it is Papageno, not Tamino, who risks his life to save her. Tamino and Pamina are torn apart by yet another trial a journey through the dreaded labyrinth before they can tie the knot. Meanwhile, Papageno and Papagena, eager to beget a flock of feathered progeny, must face their own tests of courage and fidelity. Von Winters talent shines through in the volktson of Papageno and Papagenas music, especially their Act I duet and Papagenos melancholic Act II aria Nun adieu! which parallel Mozarts famous duet for the pair and Papagenos suicide aria. Jonathan Scott was an ideal Papageno, with excellent diction, an easy stage presence and flawless legato that poured forth through a well-projected tone. His Papagena, the feisty Sarah Moulton Faux, sang with a full, silvery soprano. They were surrounded by a gaggle of miniature Papagenos (the adorable Amore Opera Childrens Chorus) wrangled by baritone Gary Giardina as Papa Papageno and soprano Trudy Wodinsky as Mama Papageno, two experienced character singers whose enthusiasm rivaled that of their younger counterparts. As Luna and Pamina, Alexis Cregger and Iris Karlin were charged with singing the scores most difficult music. Where Mozart is economic with virtuosity, Von Winter is a spendthrift. Lunas Act I aria, Bald nahet sich die Stunde, terrifies the audience with relentless and altitudinous coloratura. Von Winter transforms Pamina from Mozarts damsel-in-distress into an Amazon. The tessituraof her lengthy Act II aria has more in common with Konstanzes fearless Martern aller arten than with Paminas placid Ach, ich fühls! Cregger and Karlin sang like true professionals, never betraying unease as they navigated Von Winters craggy vocal writing. Amore Operas production of Das Labyrinthis outrageously fun, which is more of a testament to Hulls skilled direction and his casts utter commitment than to the merits of the piece itself. As with the companys concurrent production of The Magic Flute, the sets and costumes are utilitarian. What made Das Labyrinth special was the collective energy with which the entire cast illuminated the Connelly Theater.
Posted on: Sun, 12 Jan 2014 20:28:38 +0000
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