We had a long operatic dry spell over this past wet winter, but Portland Opera is finally back on stage. Announced last season, the transition to a spring/summer format meant a late season opener last Friday night, with Mozart's "The Magic Flute."
The production was one the company last staged almost 20 years ago, with scenic and costume design by Maurice Sendak in the playful manner of his "Where the Wild Things Are." The original sets were destroyed by Hurricane Wilma in 2005 while in storage in Florida, but the opera's general director (and, for this production, stage director) Christopher Mattaliano had them reconstructed for a fresh new production, an apt introduction to a fresh new season.
Highlights: As scenery and lighting designer, Neil Peter Jampolis was the hidden star of the show, thanks to his reconstruction of Sendak's production along with artist Michael Hagen. The old sets already looked a little tired last time around; the new ones are clean and vivid. Conductor George Manahan hit the ground running with a brisk overture and generally fast-paced direction, and Mattaliano offered several brilliant comic touches.
Most valuable players: As the bird-catcher Papageno, John Moore stole every scene he was in with manic comic energy and a fine agile baritone just right for Mozart. Shawn Mathey and Maureen McKay had tender chemistry as the lovers Tamino and Pamina, ingenues with supple voices. Tom McNichols was appropriately profound as Sarastro, and Marcus Shelton was a manic match for Moore in the smaller role of Monostatos.
Low notes: The cast was uneven Friday night, with a few strong, ringing voices and other small ones. The orchestra was tight (with a bright, lively GeorgeAnne Ries playing the titular flute), but the coordination with the singers was shaky--that will likely improve over the run.
That one aria: Aline Kutan didn't impress in her first appearance as the Queen of the Night, with her unthreatening appearance and chirpy high notes, but she delivered in the later number that fills the seats. Again, she didn't quite mesh with the orchestra, but the crowd was thrilled.
Things about which reasonable people can disagree: Yes, it's a universally recognized masterpiece, but I like approximately half of this opera. Mozart reminds me of Charlie Chaplin: the comedy is fantastic, but the turn to earnestness -- in this case, the vague virtuousness and Masonic mysticism -- makes me roll my eyes and fall over in my seat. The production didn't much enliven the serious bits, so parts of the three-and-half-hour evening felt like a slog. Also, while I admire Andrew Porter's English translation, it's clunky, and I'd rather see it in the supertitles while I hear the original German.
Takeaway: Portland Opera has finally returned, in high spirits.
-- James McQuillen, for The Oregonian/OregonLive
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"The Magic Flute"
Where: Keller Auditorium, 222 S.W. Clay St.
When: 7:30 p.m. Thursday and Saturday
Tickets: $28-$250; 503-241-1802 or portlandopera.org