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[Met Tour] CID:156950
Die Zauberflöte
Cyrus Northrop Memorial Auditorium, Minneapolis, Minnesota, Sat, May 5, 1951
In English
Die Zauberflöte (120)
Wolfgang Amadeus Mozart | Emanuel Schikaneder
Review 1:
Review of Noman Houk in the Minneapolis Tribune
“Magic Flute” Presented by Met Troupe
Mozart’s “The Magic Flute” was given in Northrop auditorium Saturday night, third event of the Metropolitan Opera Co. series here. One had to search hard to find a vacant seat here and there, and the house was in a festive mood.
This fantasy on the powers of love, virtue and courage over the powers of darkness calls for a lot of cooperation in make-believe. It’s the sort of cooperation every audience is happy to indulge in for the rewarding succession of some of Mozart’s loveliest melodies, plus some understanding touches of humanity not quite at its noblest, these last given with humorous effect by the bird man, Papageno.
John Brownlee was last night’s Papageno, a good characterization with many a caper. Richard Tucker sing Tamino, warming up, after his [first] scene, to continued fine singing.
Jerome Hines sang the two great arias of Sarastro with rich and noble dignity. Eleanor Steber in the role of Pamina, whom Tamino eventually rescues, was in beautiful voice with every note a pleasure. One of the newcomers to the company this season, Robert Peters, sang as Queen of the Night and she gave her two difficult arias with delightful ease, with notes sparkling star-high to match that fascinating twinkling curtain that always backgrounds the Queen of the Night.
Others in the cast were Nicola Moscona as high priest, Thomas Hayward and Clifford Harvout as two priests, Leslie Chabay as the threatening Monostatos.
The opera was sung in English. In fact, two of the five operas we hear from the Met this season are in our native tongue, a trend I favor. It has to be admitted, however, that considerably less of the English came across the footlights distinctly than was the case with Friday’s “Die Fledermaus.”
And one can hope that some future resetting of this perennial will have scenery that does not require so much waiting for changes between the many scenes. But the way it is, is far better than not having it at all. In fact it was a real delight and the audience made that plain.
Search by season: 1950-51
Search by title: Die Zauberflöte,
Met careers
Die Zauberflöte
Cyrus Northrop Memorial Auditorium, Minneapolis, Minnesota, Sat, May 5, 1951
In English
Die Zauberflöte (120)
Wolfgang Amadeus Mozart | Emanuel Schikaneder
- Pamina
- Eleanor Steber
- Tamino
- Richard Tucker
- Queen of the Night
- Roberta Peters
- Sarastro
- Jerome Hines
- Papageno
- John Brownlee
- Papagena
- Lois Hunt
- Monostatos
- Leslie Chabay
- Speaker
- Nicola Moscona
- First Lady
- Lucine Amara
- Second Lady
- Thelma Votipka
- Third Lady
- Martha Lipton
- Genie
- Genevieve Warner
- Genie
- Paula Lenchner
- Genie
- Hertha Glaz
- Priest/Guard
- Thomas Hayward
- Priest
- Clifford Harvuot
- Guard
- Lawrence Davidson
- Conductor
- Fritz Stiedry
Review 1:
Review of Noman Houk in the Minneapolis Tribune
“Magic Flute” Presented by Met Troupe
Mozart’s “The Magic Flute” was given in Northrop auditorium Saturday night, third event of the Metropolitan Opera Co. series here. One had to search hard to find a vacant seat here and there, and the house was in a festive mood.
This fantasy on the powers of love, virtue and courage over the powers of darkness calls for a lot of cooperation in make-believe. It’s the sort of cooperation every audience is happy to indulge in for the rewarding succession of some of Mozart’s loveliest melodies, plus some understanding touches of humanity not quite at its noblest, these last given with humorous effect by the bird man, Papageno.
John Brownlee was last night’s Papageno, a good characterization with many a caper. Richard Tucker sing Tamino, warming up, after his [first] scene, to continued fine singing.
Jerome Hines sang the two great arias of Sarastro with rich and noble dignity. Eleanor Steber in the role of Pamina, whom Tamino eventually rescues, was in beautiful voice with every note a pleasure. One of the newcomers to the company this season, Robert Peters, sang as Queen of the Night and she gave her two difficult arias with delightful ease, with notes sparkling star-high to match that fascinating twinkling curtain that always backgrounds the Queen of the Night.
Others in the cast were Nicola Moscona as high priest, Thomas Hayward and Clifford Harvout as two priests, Leslie Chabay as the threatening Monostatos.
The opera was sung in English. In fact, two of the five operas we hear from the Met this season are in our native tongue, a trend I favor. It has to be admitted, however, that considerably less of the English came across the footlights distinctly than was the case with Friday’s “Die Fledermaus.”
And one can hope that some future resetting of this perennial will have scenery that does not require so much waiting for changes between the many scenes. But the way it is, is far better than not having it at all. In fact it was a real delight and the audience made that plain.
Search by season: 1950-51
Search by title: Die Zauberflöte,
Met careers
- Fritz Stiedry [Conductor]
- Eleanor Steber [Pamina]
- Richard Tucker [Tamino]
- Roberta Peters [Queen of the Night]
- Jerome Hines [Sarastro]
- John Brownlee [Papageno]
- Lois Hunt [Papagena]
- Leslie Chabay [Monostatos]
- Nicola Moscona [Speaker]
- Lucine Amara [First Lady]
- Thelma Votipka [Second Lady]
- Martha Lipton [Third Lady]
- Genevieve Warner [Genie]
- Paula Lenchner [Genie]
- Hertha Glaz [Genie]
- Thomas Hayward [Priest/Guard]
- Clifford Harvuot [Priest]
- Lawrence Davidson [Guard]