FGO’s Mozart’s ‘The Magic Flute’ A Monumental Made-In-South Florida Production

Soprano Laura León rehearses her Queen of the Night role with her counterpart, Ricardo García, as Tamino in Florida Grand Opera’s production of Mozart’s “The Magic Flute” playing at the Arsht Center in Miami and the Broward Center for the Performing Arts in Fort Lauderdale. (Photo courtesy Florida Grand Opera)

“The Magic Flute” —the final operatic work by Wolfgang Amadeus Mozart before his death in 1791 when he was 35 years old — is recognized as “the opera of all operas.”

And it’s a deserved definition.

Whether or not you’re a classical music enthusiast, you’ll likely recognize the title. Or maybe you will recall the captivating melody of the Queen of the Night’s aria, a ubiquitous piece in operatic history.

It premiered just two months before Mozart’s death at Vienna’s Freihaus-Theater auf der Wieden and the whimsical musical fable (the libretto written by Emauel Schikaneder and divided in two acts) remains more than a plain parable of the struggle between good and evil, the simple and the sublime, with a touch of Masonic rituals. Above all, “The Magic Flute” harmonizes these contradictions to celebrate love for truth, mutual solidarity, justice, fraternity, and tolerance, appealing to audiences of all ages.

With an expansive vision, Florida Grand Opera (FGO) will open its 2024-2025 season with an original production of “The Magic Flute (Die Zauberflöte).” In this rendition, the celebrated opera has been reimagined and directed by Jeffrey Marc Buchman, who describes it as a bold new interpretation inspired by the world of fantasy role-playing games.

Florida Grand Opera’s “The Magic Flute” Director Jeffrey Marc Buchman. (Photo courtesy of Florida Grand Opera)

“The creation was essentially mine, designed as a way to draw us into the story through the perspective of imaginative youth. In the overture, we see a group of five teenagers breaking into an abandoned warehouse late at night to play their favorite role-playing game, similar to ‘Dungeons and Dragons’,” says Buchman, who hails from Baltimore but settled in Miami 31 years ago to help in the development of the local opera scene.

Buchman’s young characters cross over from the modern world they inhabit to recreate the original fable. “If you’re familiar with these types of games, essentially everything unfolds within the players’ imaginations. They’re collaboratively creating a story as they embark on these epic quests. As they play, the warehouse setting begins to transform—you see a dragon appearing in the space, an eye blinking just outside the warehouse window,” describes Buchman.

The director says the opera is a great way to connect with younger audiences who may not be apt to want to see opera.

A rendering of FGO’s production of “The Magic Flute,” which features projections by Greg Emetaz, stage and set design by Stephan Moravski and lighting design by Robert Wierzel. (Photo courtesy of Florida Grand Opera)

“These (players) then become characters within the story, which is a wonderful way to connect with youth—the ones who truly imagine where the world can go and envision the future of society.

Buchman says that one of the central themes of “The Magic Flute” is enlightenment.

“The idea of enlightenment really rests with the next generation. For those of us who are already set in our beliefs, it can be challenging to embrace new ideas and progressive thought. It’s the younger generations who push us forward, and that’s at the heart of the story I’m telling: to reach enlightenment, we depend on the vision and openness of the youth to lead us there.”

Director Jeffrey Marc Buchman works with tenor Ricardo Garcia, left, who sings Tamino and Alex DeSocio who plays Papageno in the Florida Grand Opera production of Mozart’s “The Magic Flute.” (Photo courtesy of Florida Grand Opera)

The director insists that in some of the dialogue he adapted, he consciously emphasized that theme. “Throughout the story, we periodically return to see that it’s still the kids just playing this game in the modern warehouse, but then we dive right back into the fantasy story unfolding in their minds. It’s a wonderfully charming way to tell this story.”

But if these are present-day characters, how does one resolve the original dilemma that involves the stories of a prince named Tamino, his true love, Pamina, the half-man, half-bird creature Papageno and the Queen of the Night, among others.

Buchman explains that a mix of physical set pieces, a video wall and projections help to tell the story.

A massive video wall at the back of the stage and video projections create the world of Mozart’s “The Magic Flute” re-imagined by Florida Grand Opera. (Photo courtesy of Florida Grand Opera)

“This combination allows us to dynamically shift between locations, creating incredible textures that transform the look and feel of the warehouse setting. It’s a mechanism to transition from the modern world to the fantasy world seamlessly,” adding that most of the characters exist solely within the fantasy. However, the five teenagers from the warehouse setting crossover between both worlds.

“There’s a teenage boy and girl who become Tamino and Pamina in the story, and three younger teenagers who transform into the three spirits. These spirits guide Tamino and Papageno on their journey, acting as the same kids we saw in the warehouse, now in fantasy attire.”

Costumes, created specifically for this production by Fort-Lauderdale based costume designer Camilla Haith, play into the scene setting, too. Characters in the opening wear modern clothing, but in the fantasy scenes, they’re dressed as their respective roles, though still recognizable as the same teenagers from the warehouse. “This connection is central to the story: just as in role-playing games, they’ve chosen characters for their journey, placing the modern youth into this fantastical quest. This approach allows audiences familiar with ‘The Magic Flute’ to see it through fresh eyes, while still honoring the spirit of one of the most beloved operas in the world.”

Asked about a concern that traditional opera fans might be unsettled by his telling of “The Magic Flute,” the director says he doesn’t think this version will scare anyone away.

One performer well prepared to take on her character in the fantastic world of “The Magic Flute” is Miami-based Cuban soprano Laura León. “The Queen (of the Night) is my dream role, and it means the world to me to be able to perform it for South Florida audiences, for my people.”

Miami-based Cuban soprano Laura León says the Queen of the Night is her dream role. She’ll be performing with Florida Grand Opera in its newest production of “The Magic Flute.” (Photo courtesy of Florida Grand Opera)

León was born and raised in Cuba and came to Florida when she was 17 years old, and she is well aware of what it means to take on a role of this magnitude. “From Miami Dade College to FIU, and as a young artist with Florida Grand Opera, this community has shaped me into the singer I am today.  (This) is an exhilarating role, and I can’t wait to bring this iconic character to life on stage. Every costume fitting, every note—it’s a dream come true to perform where I grew up, blending my Cuban roots with the richness of the American stage.”

In addition to León, the principal roles in this staging are performed by Ricardo García as Tamino, Alex DeSocio as Papageno, David Margulies as Monostatos, Sara Kennedy as Pamina, Andrew Potter as Sarastro, and Sydney Dardis as Papagen. The production features projection work by Greg Emetaz, stage and set design by Stephan Moravski, with lighting by Robert Wierzel.

Maria Todaro, the newly appointed general director of the Florida Grand Opera says she believes that audiences will be proud of this made-in-South Florida production.

A sketch of the elaborate costume of Queen of the Night, designed by Camilla Haith for Florida Grand Opera’s “The Magic Flute.” (Photo courtesy of Florida Grand Opera)

“Conceived right here in South Florida, with sets and costumes crafted in Miami, this original FGO production showcases the talent of so many local creatives, all proud natives of the area.”

Buchman assures that his approach as a director ensures that the core of Mozart’s piece is preserved.

“I am not interested in turning it on its head. I care deeply about the roots of storytelling in opera, and I think traditionalists will see that this approach serves as an entryway into the story without altering its essence.”

WHAT: Florida Grand Opera presents Mozart’s “The Magic Flute.”

WHEN AND WHERE: 7 p.m., Saturday, Nov. 16; 2 p.m., Sunday, Nov. 17, 8 p.m. Tuesday, Nov. 19. Adrienne Arsht Center for the Performing Arts, Ziff Ballet Opera House, 1300 Biscayne Boulevard, Miami. 7:30 p.m. Thursday, Dec. 5, and Saturday, Dec. 7. Broward Center for the Performing Arts, Au-Rene Theater, 201 SW 5th Ave, Fort Lauderdale.  

COST: Tickets range from $22 to $285. Receive 25 percent off of the ticket price with promo code Operalover25.

INFORMATION: (800) 741-1010 or www.FGO.org

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com.