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(Leah Hogsten | The Salt Lake Tribune) Robert Breault plays Tamino and Audrey Luna is the Queen of the Night in Utah Opera's production of Mozart's "The Magic Flute."
Utah Opera: Mozart masterpiece is as magical as ever
Review » Utah Opera presents a soaring, colorful “Magic Flute.”
First Published Mar 17 2013 04:17 pm • Last Updated Mar 17 2013 11:23 pm

Mozart’s "The Magic Flute" is two operas in one. The first act is a zany adventure story, with mysterious creatures, a daring rescue and some of the catchiest tunes ever heard in an opera house. The second act is solemn, sometimes ponderously so, as the protagonists undergo trials to prove their mettle.

It can be tricky to balance those radically different halves. Utah Opera’s current production succeeds by playing both elements with complete sincerity. Because the cast buys so fully into the roles and situations, the audience is more likely to do the same.

At a glance

Magical Mozart

Utah Opera presents Mozart’s “The Magic Flute,” sung in German with supertitles and spoken dialogue in English.

Where » Capitol Theatre, 50 W. 200 South, Salt Lake City.

When » Reviewed Saturday, March 16; performances continue Monday, Wednesday and Friday, March 18, 20 and 22, at 7:30 p.m., with a 2 p.m. matinee Sunday, March 24.

Running time » About 2 1/2 hours, including intermission.

Tickets » $15 to $93 ($5 more on performance day) at 801-355-ARTS, the box office or www.utahopera.org.

In a nutshell » An earnest young couple and their wacky sidekick journey toward enlightenment in an exotic land where almost nothing is as it seems.

Learn more » Utah Opera principal coach Carol Anderson will lecture one hour before curtain; artistic director Christopher McBeth will hold a Q&A session immediately after each performance. These events, free to ticketholders, take place inside the theater.

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A beautifully cast trio of singers play the central roles: Salt Lake-based tenor Robert Breault as Tamino, the noble prince; soprano Anya Matanovic as Pamina, the brave princess; and baritone Daniel Belcher as Papageno, the simple birdcatcher. All excelled in Saturday’s opening performance. Breault sang with well-focused lyricism and invested Tamino with an innocence that made his emotional journey all the more relatable. Matanovic combined vocal purity with a radiant stage presence that let the goodness of Pamina’s character shine through. And Belcher nearly stole the show with his light, jovial vocal delivery and excellent comic timing.

Jennie Litster, Sishel Claverie and Jessica Bowers played the Three Ladies with infectious enthusiasm, raising the energy of an already-energetic first act. Eric Stevens, Griffin Mozdy and Jonas Malinka-Thompson, all students at the Madeleine Choir School, gave first-rate performances as the Three Spirits. Another Utahn, Tyler Oliphant, made a strong impression as the Speaker and one of the Armored Men. (Andrew Penning gave a solid performance as the other Armored Man.) Doug Jones, as Monostatos, looked menacing in his tribal tattoos but also showed a flair for comedy. Amy Owens was a mischievous and high-spirited Papagena.

Audrey Luna sang perhaps the opera’s best-known tune, the Queen of the Night’s vengeance aria, to terrifying effect, popping out a series of high F’s like sonic daggers. On the other end of the sonic spectrum was Jeremy Galyan, who played Sarastro more as a calming presence than a charismatic leader.

Tim Long conducted the Utah Symphony in a colorful performance of Mozart’s rich score. "The Magic Flute" is filled with heart-catching moments that can surprise even the seasoned listener. The Three Ladies’ instructions to Tamino and Papageno, the duet in which Pamina and Papageno sing the praises of marriage, and the duet of the Armored Men were among Saturday’s most magical moments. Especially noteworthy performances came from Mercedes Smith and Jason Hardink, who played the "enchanted" flute and bells, respectively.

The current "Magic Flute" is a revival of the Thaddeus Strassberger production from 2006, to which stage director Paul Peers has added some playful touches of his own. The visual design is diverse, boldly colored and often fanciful, in keeping with the disparate elements of Mozart’s score and Emanuel Schikaneder’s libretto.

Copyright 2014 The Salt Lake Tribune. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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