News of Otsego County

magic flute

The Glimmerglass adapts: Festival performances to begin Thursday, July 15, with Mozart’s ‘The Magic Flute’
Glimmerglass Festival electrician Bryson Kiser works on the lights for the outdoor stage for this summer’s performances. (Karli Cadel)

The Glimmerglass adapts: Festival performances to begin Thursday, July 15, with Mozart’s ‘The Magic Flute’

The Glimmerglass Festival, home to the summer opera and other theater, will open Thursday, July 15 with “The Magic Flute” by Mozart.

The festival will have outdoor performances on a specially built stage, in order to accommodate
COVID-19 restrictions.

Francesca Zambello, Festival artistic and general director said in a me

dia release that the theater “reimagined” the Glimmerglass experience in order to safely showcase their works.

“While this move outdoors is primarily for the health and safety of our company members, audience members and community, it is in harmony with what people love about Glimmerglass — innovative art and performances in a beautiful location,” Zambello said. “We are extremely grateful to Andrew
Martin-Weber for making this outdoor stage possible, and we look forward to bringing amazing performances to you from the Andrew J. Martin-Weber Lawn Stage.”

The outdoor stage will be at the south part of the Glimmerglass’s Springfield Center campus, with socially distanced festival squares for spaced-out seating. Attendees are encouraged to bring blankets and lawn chairs with low profiles, so the performances can be enjoyed comfortably.

“The Magic Flute” is described by the press release as a “whimsical tale of love and wisdom with an original libretto from Emanuel Schikaneder.” It is directed by N.J. Agwuna and conducted Joseph Colaneri, with costumes by Christelle Matou.

“Il Trovatore” an epic love story which is co-directed by Zambello and Eric Sean Fogel with music
conducted by Joseph Colaneri, will open Sunday, Aug. 1.

“Songbird,” adapted from “La Perichole,” will have its first performance Friday, July 30.

“To the World” opens Friday, July 16. The show is a journey around the globe through popular musical theater hits. It stars Isabel Leonard,

William Burden, Alexandria Shiner, Michael Mayes and members of the Young Artists Program.
Eric Sean Fogel directs and James Lowe conducts.

“Gods and Mortals,” which opens Tuesday, Aug. 3, celebrates the work of Richard Wagner with
selections from some of his most popular operas, including “The Ring Cycle” and “Tannhäuser,” as well as some of his lesser known works, including “Die Feen.”

“At a time when the world can feel strikingly small — confined to a bedroom and a laptop — Wagner’s grand works remind us of feeling larger than life. His fascination with mythology and the natural world will propel us as we take the festival outdoors,” Zambello said in the media release.

The staged concert will star Eric Owens, Alexandria Shiner and Ian Koziara. “Gods
and Mortals” is conducted by Joseph Colaneri and directed by Zambello.

The season will also include “The Passion of Mary Cardwell Dawson,” a new play with music celebrating the founder of the historic and groundbreaking National Negro Opera Company and starring acclaimed mezzo soprano Denyce Graves in the title role.

Written by the Mark Twain Award-winning playwright and librettist, Sandra Seaton, the play includes selections from the repertory of the National Negro Opera Company and original music composed by Carlos Simon.

“Madame Dawson was an arts pioneer, a woman of many firsts, whose remarkable story had been all but forgotten until recently,” Graves said in the media release. “Mary Cardwell Dawson broke through incredible barriers to give voice to singers of color, creating opportunities that eventually brought them to major American opera house stages for the first time. It is an honor to champion her story — and that of the National Negro Opera Company she founded in 1941.”

Go to for more information and to purchase tickets.



‘Flute,’ ‘Macbeth,’ ‘Cato,’ ‘Candide’ Performed Lakeside

Sean Panikkar is Tamino in The Glimmerglass Festival's 2015 production of Mozart's "The Magic Flute," which is transported to the woods of the Northeastern U.S.   The performance is director by Madeline Sayet, a Mohican princess. Dory Schultz/The Glimmerglass Festival)
Sean Panikkar is Tamino in The Glimmerglass Festival’s 2015 production of Mozart’s “The Magic Flute,” which is transported to the woods of the Northeastern U.S. The performance is directed by Madeline Sayet, a Mohican princess. (Dory Schultz/The Glimmerglass Festival)

This is one of two summer weekends when all four of the Glimmerglass Festival’s productions are performed in the Alice Busch Opera Theatre on Otsego Lake.  Below are reviews of this year’s productions by Pat Thorpe for The Freeman’s Journal (Cooperstown’s newspaper) and Hometown Oneonta,’s sister publications.

New Mozart ‘Flute’ ‘Completely Magical’

Big Choruses Bolster Leads In ‘Macbeth’

‘Cato’ Buoys Reputation For Baroque

‘Candide’ Overcomes ‘Relentless Tinkering’

Check for the SCHEDULE and BOX OFFICE

PROFILE: ‘Fearless Francesca Zambello’ Directs Glimmerglass

New Mozart ‘Flute’ ‘Completely Magical’

New Mozart ‘Flute’ ‘Completely Magical’

Review by PAT THORPE for

Sean Panikkar as Tamino and So Young Park as Queen of the Night in The Glimmerglass Festival's 2015 production of Mozart's "The Magic Flute." (Karli Cadel/The Glimmerglass Festival)
Sean Panikkar as Tamino and So Young Park as Queen of the Night in The Glimmerglass Festival’s 2015 production of Mozart’s “The Magic Flute.” (Karli Cadel/The Glimmerglass Festival)

“The Marriage of Figaro,” “Don Giovanni,” “Cosi fan Tutti” – in five years, Mozart and collaborator Lorenzo Da Ponte produced one hit show after another and changed the shape of opera forever.

But by 1791, Da Ponte was gone and Mozart began working with friend and fellow Freemason Emmanuel Schikaneder on a comic fairy tale for the general public, not just the Viennese elite, a return to the singspiel form of some of Mozart’s early works, using German with spoken dialogue and broad slapstick comedy.

The music ranges from rustic folk songs to tinkling glockenspiel, melting romantic melodies to spectacular coloratura that still challenges singers today.

The Glimmerglass Festival’s new “Magic Flute” is a thorough updating and reworking of Mozart’s classic.  Kelley Rourke, Glimmerglass’ adept dramaturge, has produced a swiftly moving English translation that is both witty and poetic.

Gone are the unintelligible references to Freemason myth and ritual, replaced here by the religion of scientific exploration.  Gone are the sexist and racist attitudes of the original, replaced by welcome themes of diversity and the redemptive power of natural beauty.

The time is the present, although the setting is timeless.  As director Madeline Sayet explains, “Our ‘Magic Flute’ is not a journey to a fantastical other world, but a way of looking more deeply into the real place we live in, the woods around Glimmerglass, if only you open your eyes wide enough.”

The trees on stage will definitely open your eyes; created by set designer Troy Hourie, they are a dominant feature of the production, resourceful and very active.

The “Magic Flute” plot is the classic hero’s journey from confusion to enlightenment, with challenges from monsters (human and otherwise), aid from sidekicks, failures of faith, and a beautiful girl in need of rescue.

The opera’s hero, Tamino, ably brought to life by tenor Sean Panikkar, is a handsome, square-jawed master of the urban universe lost in the woods. His reluctant sidekick Papageno, a hunter hilariously outfitted in camouflage and blaze orange, is played by Ben Edquist with such irresistibly funny physical comedy that you hardly notice what a fine voice he has.

Pamina, our heroine, is trapped in a particularly modern situation, the focus of a bitter custody battle between her mother, the villainous Queen of the Night, and the enigmatic Sarastro, an impressive Soloman Howard.

Jacqueline Echols, a feisty but also poignant Pamina, is back for her third season at Glimmerglass, this time as a star, bringing grace and spirit and a rich soprano to her role.  So Young Park, a diabolical beauty as the Queen, hurls her high Fs like lightning bolts.

This is a thoroughly family friendly production, an inviting opportunity for newcomers to enter the world of opera, as well as the world of the forest.  The supporting cast and the (mostly offstage) chorus are uniformly excellent, energetic and appealing.   As always, Mozart’s music is sublime.  Add to that a stage full of lively trees and vibrant young performers and Glimmerglass has a completely magical new “Flute.”

Chief Uncas’ Direct Descendant Directing Glimmerglass’ ‘Flute’

Chief Uncas’ Direct Descendant

Directing Glimmerglass’ ‘Flute’

This set rendering of Glimmerglass' "Magic Flute" is the vision of set designer Troy Hourie and costume designer Kaye Voyce.  (Courtesy Glimmerglass Opera)
This set rendering of Glimmerglass’ “Magic Flute” is the vision of set designer Troy Hourie and costume designer Kaye Voyce. (Courtesy Glimmerglass Opera)
Madeline Sayet
Madeline Sayet

COOPERSTOWN – Last summer, Madeline Sayet visited Glimmerglass’ environs for the first time, hiking into the woods with designers Troy Hourie (sets) and Kaye Voyce (costumes).

They came upon a clearing.  “There must have been a fire,” said Sayet, who, a direct descendant of the Mohegans’ great chief Uncas, is as close to a Native American princess as anyone these days.  “All the trees were isolated and singular.  And we said:  That’s Sarastro’s work.  The trees are in the world, but they aren’t leaning on each other.”

The winter before, Sayet, a young theater director – The Glimmerglass Festival’s presentation of Mozart’s “The Magic Flute” is her first opera – was invited to Francesca Zambello’s New York City apartment and asked to direct the centerpiece of the opera company’s 40th anniversary season.



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