A ‘Flute’ That’s Truly Magical

Los Angeles Opera’s “The Magic Flute,” the third time around, delicately balances the philosophical verities and comic situations of Mozart’s masterpiece. Such balance is never easily achieved, yet there it was, in considerable glory, Sunday night in the Dorothy Chandler Pavilion. It is, in a word, magic.

First introduced in 1993, the Peter Hall production, conducted by Lawrence Foster and directed by Stanley M. Garner, remains visually striking, endlessly colorful, a paean to whimsy and fancy. The faux animals charm, the cartoon-like slaves amuse, the clever sets change aspects entertainingly. The master hand of Gerald Scarfe, the designer, is everywhere to be admired. It gives delight.

Most important, since the oppressive pomposity of many previous “Flutes” has been avoided, the music comes to life, illuminated by Foster, a commanding Mozartean on the podium, and a world-class, consistently splendid cast.

This cast is strong in every role, and its musical and dramatic cohesion at the opening was a high point in this opera season. Michael Schade’s Tamino dominated the action with singing of beauty, urgency and emotional depth; his effortless acting proved concise, effective, to the point.

Before the Sunday night opera performance, Schade had substituted for an ailing colleague in three concerts by the Los Angeles Philharmonic on Friday and Saturday nights and Sunday afternoon; his solid and powerful voice showed no fatigue at all in this performance.

In her L.A. Opera debut, Hungarian-born Andrea Rost, an ideal Pamina, complemented Schade’s Tamino and sang handsomely. Rost combines believable acting with an aristocratic musicality; her “Ach, ich fuhls” proved as dramatically touching as it was musically admirable.

Rodney Gilfry’s credible and amusing Papageno--he appeared in the 1993 run, but not the 1998 revival--made no false moves; his comic timing is as focused and tasteful as his mellow voice.

Striking and menacing in a Black Widow costume, Sumi Jo brought her usual expertise to the challenges of the Queen of the Night; the role is, of course, a cameo with high F’s. She etched both with aplomb. In his local debut, Reinhard Hagen made a commanding, humane Sarastro.

Greg Fedderly made of Monostatos a lovable villain, an appropriate characterization given the appropriately cartoonish nature of many of these costumes, and of many aspects of the work.

Strongly delineated and well-sung, the Three Ladies were Robin Follman, Cynthia Jansen and Suzanna Guzman. Scott Wyatt sang handsomely and exuded authority as the First Priest.

Shana Blake Hill made the most of her opportunities as Papagena. The Three Boys were Lauren Libow, Daniel Reardon and Aidan Schultz-Meyer.

Trained by William Vendice, the chorus sang with assurance, admirable enunciation and blended tone. Foster’s resourceful pit orchestra played a transparent Overture and upheld that standard for all three hours and 12 minutes of this delightful Mozartean revival.

*

Los Angeles Opera, “The Magic Flute,” Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A., (213) 365-3500. $30-$165. Friday and April 3, 7, 10, 12 and 14 at 7:30 p.m.; March 31 at 3 p.m. and April 6 at 1 p.m.