UTAH LYRIC OPERA ENSEMBLE, PARADIGM CHAMBER ORCHESTRA, Die Zauberflöte, Libby Gardner Concert Hall, Feb. 16
Robert Breault’s Lyric Opera Ensemble and Joel Rosenberg’s Paradigm Chamber Orchestra have been combining forces annually for several years now, but Die Zauberflöte, this past weekend’s joint venture, proved to be their best collaboration to date.
A costumed and semi staged production that utilized most of Libby Gardner Concert Hall to good effect brought Mozart’s timeless masterpiece to life. And Saturday’s cast certainly helped, too. In fact, it was one of the stronger group of singers to be assembled in some time.
Mozart’s music isn’t easy to do, but this ensemble of young talent captured the nuances and details of Die Zauberflöte wonderfully. Not only are these singers technically and musically self assured, but they also brought a level of professionalism to their performance that was refreshing.
The two performances were double cast. Tenor Andrew Maughan (Tamino), however, had to do double duty; he had to step in and replace the singer scheduled to perform the role Saturday. Maughan gave a compelling portrayal of the young prince sent to save Pamina. He brought emotional depth and richly modulated expressiveness to his singing. He is a versatile singer and he acquitted himself wonderfully, particularly in Dies Bildnis ist bezaubernd schön which he infused with tenderness and feeling.
Soprano Ashley Wright was also well cast as Pamina. She has a delightfully lyrical voice that has some power to it. She sang her part with well defined expressiveness and eloquent lyricism She was especially wonderful in Ach, ich fühl’s; she brought emotional depth to this poignant aria.
Stunning as the Queen of the Night was soprano Emily Nelson. She dazzled the audience with her sparkling voice as she tackled the role’s two immensely demanding coloratura arias: O zittre nicht, mein lieber Sohn and Der Hölle Rache kocht in meinem Herzen. She sang the florid passages with ease and hit all the high Fs effortlessly.
Sopranos Melissa Dawson, Alexia Butler and Gretchen Windt, as the three ladies, were captivating. All have fluid, lyrical voices and they brought depth and credibility to their parts.
Baritone Daniel Tuutau brought humor and a sense of fun to his portrayal of the happy go lucky bird catcher Papageno. Another versatile singer, Tuutau brought infectious good nature to his role. He has a wonderfully fluid and lyrical voice that was well suited to the music Mozart wrote for this character. His opening Der Vogelfänger bin ich ja was lighthearted and delightful.
Soprano Amber Stachitus in the tiny role of Papagena, was also charming. Her duet with Papageno was hilarious.
Rounding out Saturday’s cast were Matthew Castleton (Sarastro); Geoffrey Friedley (Monostatos); Court Thomas and Merrill Flint (the armored men); and Michelle Dean, Katie Marshall and Erin McOmber (the three boys).
The Paradigm Chamber Orchestra, under Rosenberg’s baton, gave a solid performance. They played with articulation and nicely defined execution and delivery. Especially noteworthy was the playing of flutists Tia Jaynes and Kathy Larson.