Local troupe breathes life into classic opera

By CHRISTENE MEYERS
Gazette Entertainment Editor

In German it's "Die Zauberflote." In English it's "The Magic Flute."

In any language, it's wunderbar.

Rimrock Opera Company's imaginative production of the tuneful Mozart opera has much to recommend it. The opera features striking solo voices, solid ensemble work and that nearly invisible essential to seamless opera: a masterful pit orchestra to hold it all together.

Conductor Robert Wood collaborates with ROC artistic director Douglas Nagel in this best-yet production of the 3-year-old company.

Imagination and humor flit and skip as freely as the flutes and pan pipes on stage and in the pit.

In his mission to involve youth, Nagel made the three spirits five -- four agile grade-schoolers and a nimble college graduate. And he added the novel touch of "Dark People" who move the sets about, hand the actors their props and act as a kind of "German chorus" in the Greek tradition, preparing us for or reinforcing the action on stage.

Dancer Ray Spooner adds artful touches with these figures, who also mime trees, bushes, walls and more.

The story, one of the best known of opera liturgy, features the charming gourmand and bird catcher, Papageno; the dashing Prince, Tamino; the dramatic Queen of the Night and her Three Ladies; the Queen's enslaved daughter, Pamina; the evil Sarastro, and more. Through twists and turns of the plot, the evil doers and duplicity are conquered, and love, purity and goodness triumph.

Ah, opera.

Sit back and enjoy the ride with Lisa Lombardy's bell-clear voice doing justice to the raging Queen. Lombardy is just the right age and vocal maturity to hit the high notes, and she nails each one, including the grace notes, with precision. Her effortless high F's transport us to the imaginary Egypt of the plot, and her "pangs of hell" threats are heavenly rendered. (Her first-act air, too, with its unerring pitch and flawless trills, brought chills of admiration.)

Another standout in a cast of no weak links is Paul Houghtalin's Papageno. He provides the audience with merriment by using body language to convey his character's indiscretions and charmingly feckless nature. He is a delight to watch and hear, with a deep, animated voice and stage presence to match.

Cassandra Norville's Pamina is at once spirited and sad, wanting to be dutiful but desiring, too, to follow her heart. Her duet with Papageno brought sighs from the opening-night audience.

And Papageno's early air with his fawn-flute sets the tone for an evening of amusement.

Kiel Klaphake's Tamino is a constant strong and lyrical presence, with a soulful tenor voice that makes us believe he can communicate with the spirits of the forest. (Nagel makes use of more young hopefuls in the delightful menagerie Tamino woos: wild animals surround him, drawing applause and affectionate laughter.)

The singer expressively captures the Prince's conflicting emotions.

As the coniving Moorish slave, Monostastos, Cody Maki has power and stage presence. David Hill's all-knowing Sarastro makes us believe that right will out with his resonant bass.

The Three Ladies are an important presence, and ABT audiences warmly greeted Leslie Mauldin, who was cheered for her quick step-in as Micaela in last year's "Carmen." She has magnificent, magnetic stage presence and is joined by Melissa Hamilton and Nancy Downing in ear-pleasing vocals from the opera's opening moments when they and Tamino set up the story.

Ed Harris is another steadfast presence, as the Speaker, and Angie Nelson's Papagena delights with her impish transformation when Papageno finally mends his ways.

The retainers of Monostatos are a hoot: bruisers rendered helpless by the magic of Papageno's bells. Nagel shows his gift for comedy but holds the line at slapstick as the men --- some of them gangling, some ample of girth -- drop their thug guises and twirl like those hapless hippos in Disney's "Fantasia."

The costumes are a whirling dervish of colorful silken capes, vivid robes and, of course, feathers enhanced by Jeff Boschee's muted but rich lighting.

The Opera Idaho-provided sets transport us from forest to temple to garden and cliff, with simple effectiveness although these handsome backdrops sometimes seem small for the ABT stage.

If you miss "The Magic Flute," you'll miss a chance to hear German well-sung by fine voices, both imported and domestic. The well-tuned orchestra delivers non-stop some of Mozart's most infectious tunes.

In any language, bravo, brava.

Christene Meyers may be reached at 657-1243 or at cmeyers@billingsgazette.com.


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