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Reviewed by: Paul Joseph Walkowski
OperaOnline.us
This is one busy company, now into its ninth American tour season in which it performs 67 shows to audiences around the country. It’s a daunting requirement for one orchestra and cast that goes from one production one evening to another production the next, from one city to the next, repeating this grueling schedule week after week for the entire season. It must grate on everyone who contributes to the full scale productions it stages. There are bound to be slip-ups, misunderstandings, set regulations that in some cities strip the production to bare minimum, tired voices, weary musicians, and frayed nerves, especially when one singer performs in two operas – one in Italian one night and the other in German the next or a day later. Phew!
Sunday afternoon (April 2, 2006) a large Boston opera audience (a respectable showing for a Sunday afternoon) was treated to Mozart’s interesting and Masonic laden opera “The Magic Flute” at Emerson College’s elegant Cutler Majestic Theater in Boston’s theater district. It was a wonderful, colorful show, with performances that shone throughout and which made this “Flute” as much fun to view as hear – even though the dragon alluded to in the first act never did make an appearance on stage. This was the rather curious decision of director Martin Otava.
Under the able leadership of Maestro J. Ernest Green, the orchestra, which started with slight but noticeable trepidation, quickly recovered and delivered a smooth and laudable performance throughout the two-and-a half hours of the show. The orchestra’s work was deservedly applauded at the end of the show. Well done!
While the sets and lighting by Valentine Topencharov were basic, they were effective and at moments impressive and colorful, especially the scenes outside the Temple Doors, and during those moments when the backdrop and set were lit with stars. It is touches such as these that enhance a production and add to a scene’s emotional appeal. As noted, things were done simply, but effectively.

The story here is of an Egyptian Prince, Tamino, and his companion, the bird catcher, Papageno, who are in search of true love, but tested first by the gods. It’s actually a parable of bravery, morality, sacrifice and inner strength, told through simple characters – often performed to the delight of children of all ages because of the humor inherent in the role of Papageno when done right – and here it was done very right, very smartly and with good humor by Italian bass-baritone Stefan De Peppo.
Mr. De Peppo is one of those singers who actually become the character he plays. He did this with ease, and acted as well as he sang throughout. He’s animated, agile and involved with the audience, the sure sign of a star, and gifted with a resonant and clear voice that is so clearly audible and delivered so effortlessly that it rarely has to be pushed to be heard. Yesterday he was in top form and delivered an outstanding performance, earning many and loud bravos at the end of the show. Cast as his mate, Tamino, was American tenor Benjamin Brecher. Brecher is in large demand worldwide for the interpretation he brings to his bel canto roles and it was easy to see why yesterday afternoon. His lyric voice, in contrast to Brecher’s, suggested exactly what his character calls for, a certain innocence that would be befitting a youth, not yet a man. Brecher had good stage presence and even when singing with someone like De Peppo who commands attention, managed to hold his own and do the part justice.
A real standout in this performance, and one whom the audience seemed to enjoy was Russian basso Viacheslav Pochapsky, who was easily born for roles such as this. His worldly god was both regal and compassionate, and his voice captured the slow burn and depth of Sarastro, misunderstood at first as a “wicked demon” but later revered as a god of wisdom and compassion. Mr. Popchapsky’s performance vocally and visually was a solid winner in every respect.

And who would dare tell such lies about Sarastro, other than the conniving Queen of the Night, the “Konigin der Nacht” played deliciously and with wonderful regality by Russian soprano Larissa Yudina. Ms. Yudina captivated the audience with her staccato and clear “Der Halle Rache Kocht in Meinem Herzen” (The wrath of hell is burning in my bosom”). It’s the song everyone waits for in this production and against which a soprano daring the role is going to be measured regardless of how well she sings the rest of the score. Ms. Yudina met and surpassed every expectation and earned the loud applause she received from an appreciative audience.
Equally impressive in their performances were Bulgarian soprano Veselina Vasileva, who sang the role of Pamina, Tamino’s love interest and daughter of the Queen of the Night, and Bulgarian soprano Liubov Metodieva, who sang the role of Papagena and the Old Woman, both ironically enough being Papageno’s love interest. Hats off must also go to tenor Gueorgui Dinev for his animated and lively performance as Monastatos, and The Three Ladies: Liubov Metodieva, Veselina Ponorska and Viara Zhelezova for adding a gentle touch with beautiful voice to the padlock they attached to Papageno’s mouth in the first act. Though I would like to have heard them push a little harder (after all this is opera) their voices did manage to carry in a small hall like the Cutler. Much beyond that they would truly need to try a little harder.
All in all, it’s Teatro Lirico D’Europa’s ability to call on superb casting with steady, reliable and strong voices that impresses so, and prompts the question: how do they do this, year after year, city after city, night after night? Teatro can take a bow for this production and the earnest and noteworthy performance of a cast that rose to the level required and entertained and delighted this Sunday afternoon audience.

Artistic Director, Giorgio Lalov
Stage Director, Martin Otava
Conductor, J. Ernest Green
Set/Costumes/Lights Valentine Topencharov