With Cape Town Opera and the UCT Studio on its doorstep, how was it possible that this festival for many years overlooked the potential for a dynamic homegrown cooperation?
The gala opening of The Magic Flute last weekend recalled some of the best moments of previous productions on this amphitheatre’s stage. Even better was the fact that Mozart’s masterly Singspiel reflected all the magic ingredients that make life’s journey, with its allegorical references, fantasy and pantomime that so cleverly conceal several references to freemasonry and the political situation in Austria at the time, of current interest and above all worthwhile.
Angelo Gobbato directed an intelligent reappraisal, slightly spiced with a collective African (but still far from Africanised) aesthetic and an enthusiastic young South African cast. Most of them carry the stamp of Gobbato’s acumen as a vocal coach, resulting in a unity of musical and physical presence on stage.
With minimalism the premise, this ensemble opera glowed with as many poignant as humorous touches. In accordance with latter-day trends, Gobbato incorporates The Free Flight Dance Company as instruments within a “moving” decor, and individual dancers often reflected on the principal characters’ thoughts or became their alter egos.
In this way the unexpected begins to predominate while the cobwebs of conventionalism are scared away. The experience comes over as reassuring and refreshing. Alas, it did not always work. When Tamino (Luzuko Mahlaba) sang Dies’ Bildnis ist bezaubernd schön, the dancer was not only intrusive, but reflected little of the grace of Pamina (his beloved).
All the singers were satisfactorily honeyed in the Mozartian style. Apart from distressingly evident off-pitch singing, which is a fault local singers in general need to address, the levels of vocal expression were precisely in accordance with the characters’ intentions — a positive aspect one does not always find when singers with diverse training and backgrounds get together.
Mahlaba was a dependable, but vocally too even-tempered Tamino. A real find was Desmond Ntshebe’s 1st Priest and 1st Man in Armour, and Kaiser Nkosi carried a lot of vocal mettle in the often boring role of Sarastro. Beverly Chait as the Queen of the Night was fierce, forceful and slow in her first act aria, but had the right kind of ferocity and vocal pliancy for her second act showpiece. Attractive Zanne Stapelberg grew ever stronger into the role of Pamina as the performance progressed.
The most lasting musical impression was made by the chorus: Immensely resonant and impeccably in tune. The Cape Philharmonic played rather routinely in the pit. Conductor Günter Wallner’s tempi were often slack, and some parts lacked stylistic finesse.
The Magic Flute will be performed at Spier in Stellenbosch Friday January 11 and Tuesday January 15. Dido & Aeneas on January 18,19, 24 & 27. Madama Butterfly on January 26, 28 & 30 and February 1 & 2. Call (021)Â 809Â 1165/77/78