Despite its allegorical themes of enlightenment versus ignorance, good versus evil, and its heavy dose of symbolism woven into its fabric, the work is adaptable and editable to suit performance requirements. It has a number of juicy roles-both comic and dramatic-for excellent singer/actors, as well as attractive smaller roles and chorus opportunities. The Magic Flute seems like the perfect choice for UTOT under the circumstances.
This past weekend, UTOT made their return with a production of Wolfgang Amadeus Mozart’s The Magic Flute (Die Zauberflöte), a work written as a singspiel with a libretto by Emanuel Schikaneder. Thankfully, though, for both performers and opera audiences, live performances have now returned to the theatre stage a year and a half later. That was the predicament of University of Tennessee Opera Theatre students when the Covid-19 pandemic made live performances impossible beginning in March, 2020. Imagine being a young singer with operatic ambitions, ready to make the most of an undergraduate or graduate opera program to provide a springboard into the professional world, when rather suddenly … everything comes to a career-pausing, grinding halt.
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