Die Zauberflöte (The Magic Flute) - Harvard College Opera
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- Опубликовано: 28 апр 2020
- Harvard College Opera's production of "Die Zauberflöte (The Magic Flute)" (2020)
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
Performances: Jan. 31, Feb. 1, 2 (Magical Matinée*) and 7, 8, 9, 2020
Agassiz Theatre • 5 James Street, Cambridge, MA
*Featuring a meet-and-greet with the cast for families and children.
Music Director: Benjamin P. Wenzelberg
Stage Director: Madeleine Snow
Producers: Jonathan Castillo, Frances Choi, Yasmin Luthra, Jarod Stone
Production Adviser: James Rose
CAST
Pamina. . . . . . . . . . . . . . . . . . . . . . . . . Jahnavi Rao
Tamino. . . . . . . . . . . . . . . . . . . . . . . . . Samuel Rosner
Queen of the Night . . . . . . . . . . . . . . . Natalie Choo
Sarastro. . . . . . . . . . . . . . . . . . . . . . . . .Luke Minton
Papageno. . . . . . . . . . . . . . . . . . . . . . . Henrique Neves
Monostatos. . . . . . . . . . . . . . . . . . . . . James Rose
Papagena. . . . . . . . . . . . . . . . . . . . . . . Alina Dong
First Lady. . . . . . . . . . . . . . . . . . . . . . . .Rebecca Stewart
Second Lady. . . . . . . . . . . . . . . . . . . . . Isabella Kopits
Third Lady. . . . . . . . . . . . . . . . . . . . . . . Ruva Chigwedere
First Spirit. . . . . . . . . . . . . . . . . . . . . . . Sydney Penny
Second Spirit. . . . . . . . . . . . . . . . . . . . .Katharine Courtemanche
Third Spirit. . . . . . . . . . . . . . . . . . . . . . .Olympia Hatzilambrou
Speaker of the Temple. . . . . . . . . . . . .Alexander Chen
Armed Men. . . . . . . . . . . . . . . . . . . . . . Arhan Kumar, Jasper Schoff
The Magic Flute. . . . . . . . . . . . . . . . . . Jessica Shand
Dancers. . . . . . . . . . . . . . . . . . . . . . . . . Erin Aslami, Laura Coe, Phoebe Suh
Chorus. . . . . . . . . . . . . . .Hannah Contreras, Ellie Corbus, Kayla Johnson, Cara Kupferman, Gregory Lipson, Hannah Liu, Mary Reynolds, Camille Sammeth, Ivan Specht, Elizabeth Wu
ORCHESTRA
Flute. . . . . . . . . . . . .Jessica Shand, Karissa Huang
Oboe . . . . . . . . . . . . Hannah Thurlby, Annika McDermott-Hinman
Clarinet . . . . . . . . . . Sasha Barish, Ethan Chupp
Bassoon . . . . . . . . . Laura Reyes, Carter Namkung, Paul Georgoulis
French Horn . . . . . . Ariel Silverman, Katherine Enright
Trumpet . . . . . . . . . .Patrick Sanguineti, Avril Saavedra, Nina Chung
Timpani . . . . . . . . . .Leigh Wilson, Clara Hoey
Celesta. . . . . . . . . . .April Chen, Kyra Teboe
Violin I. . . . . . . . . . . Bobae Johnson, Jacquelyn Ho, Caleb Shi, Will Peltz Smalley
Violin II . . . . . . . . . . Elizabeth Propst, Haeun Moon, William Lundell
Viola. . . . . . . . . . . . .Sophie Choate, Alex Koller, Jarod Stone
Cello . . . . . . . . . . . . Yasmin Luthra, Soren Nyhus, Nate Steele, Neo Guerrero
Double Bass . . . . . .Claire Murphy, Willie Swett
STAFF
Stage Manager . . . . . . . . . . . . . . . . . . . . .Ava Hampton
Set Designer. . . . . . . . . . . . . . . . . . . . . . . Sabrina Richert
Co-Technical Directors . . . . . . . . . . . . . . Faith Ng, Sam Thau
Paint Charge. . . . . . . . . . . . . . . . . . . . . . . Serena Chen
Lighting Designer. . . . . . . . . . . . . . . . . . . Finn Bamber
Assistant Lighting Designer. . . . . . . . . . Clarissa Briasco-Stewart
Assistant Stage Managers. . . . . . . . . . . Clarissa Briasco-Stewart, Nick Fahy
Costume Designer. . . . . . . . . . . . . . . . . . Rena Cohen
German Coach. . . . . . . . . . . . . . . . . . . . . Rebecca Stewart
Orchestra Manager. . . . . . . . . . . . . . . . . .Ariel Silverman
Assistant Conductors/Staff Pianists. . . April Chen, Kyra Teboe, Tristan Yang
Choreography. . . . . . . . . . . . . . . . . . . . . . Laura Coe
Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . Abraham Joyner-Meyers
Assistant Director. . . . . . . . . . . . . . . . . . .Jessica Shand
Graphic/Poster Designer. . . . . . . . . . . . . Anne Carlstein
Photographers. . . . . . . . . . . . . . . . . . . . . Angela Kim, Nate Steele, Charles Wenzelberg II
Videographer. . . . . . . . . . . . . . . . . . . . . . Charles Wenzelberg II 
Видеоклипы
I was here to see my friend. She did her role well.
I don't usually watch concerts, but opera seems more legit then those raves everyone at my college wants to go to.
I´m guessing your friend is the singer who played the Queen of the Night.
The queen of the night was incredible
Yes, she sang those arias magnificently!
Thank You wonderful production..all.. papageno lenguage excellent
My favorites from this Opera
12:49
17:55
38:41
51:04
53:53
1:08:22
1:18:23
1:40:46
2:08:02
❤️❤️❤️ very good!
The Queen of the Night was good... I mean the character and also the rendition of he aria (Der Hölle Rachel kocht in Meinem Herzen)
Awesome! 😀
opera from harvard hits differently
sehr schön..
Is the dancer in the beginning supposed to be the serpent/dragon/snake?
Yes!
The monostatos bravoo
i came for 1:18:24 and the rest
Thank you so much!!
最初はオーケストラを鳴らし過ぎ、と思いました。
でもオーケストラ編成はとても小さいのですね。録音状況もそれほど良くない。
それなのにこのハーモニーは素晴らしいです。
特に有名な、夜の女王の2曲のアリアは驚くほど完成されていて驚きました。
the idea is good but sarastro sings too fast. We imagine that he sings fast to go to toilet as fast as possible. And o isis und osirins choir sung by women sorry but I can't. But monostatos is very good
He has to keep up with the orchestra, so maybe the conductor is taking a faster tempo.
Tempo is decided by the conductor, not generally by the singer
@@ColonelFredPuntridge i know
I like this performance, even though I think a lot of the music is played too fast. I enjoy seeing young people put on shows, and appreciating great works like this one. The singers are very talented and do a fine job here.
I just wish you hadn't made annoying changes for the sake of being politically correct. Monostatos is black. The spirits are supposed to be boys, so even if women sing the roles, they're supposed to be dressed as boys. I'm up to Tamino's dialogue with the priest. He criticizes all women, not just "this woman". I understand from one of the comments that the chorus of priests singing "O Isis und Osiris" is composed of women. Not a good idea.
I also noticed that the translation sometimes weakens what is expressed in the German. The 77 blows to the soles of Monostatos' feet (bastinado) are softened to hi s being punished 77 times. Sarastro sings that men must guide the hearts of women. He doesn't just claim this prerogative for himself. You may not like this, but that's the way the opera was written.
And of course, you left out the duet "Bewahret Euch vor Weiber Tücken" because the two priests sing that men should beware of women's wiles. Despite these critiques, however, I did enjoy this performance. The Queen of the Night did a superb job, but the whole cast was very good. I just don't understand why Sarastro was asked to grin so much. I think it detracted from the dignity he's supposed to have.