Magic Flute

I went with some friends to see The Magic Flute at the Mayfair Theatre last night. Let me say firstly that I was greatly impressed for reasons I'll detail in due course. There were also some quibbles, which I'll discuss as I come to them. However the being impressed far outweighed the quibbles.

John Drummond produced the piece in a 'renovated' version. This meant that some of the lyrics were altered to a more 21st century language, and were aligned to the idea of cellphones and iPads. The only problem with that is when you try and include a 21st century birdcatcher you immediately run into problems. Papageno came in on a bike, which was fun, but...birdcatchers don't really figure greatly in the 21st century corporate world.

Still, there was lots of busyness from the three ladies (now corporate-besuited PAs) and the Queen of the Night (or CEO) to distract from such difficulties. There was some fiddling around with the structure of the plot: the Queen appeared at the very beginning rather than later, as did Monostatos (a security officer, again besuited, though with hair that stood on end as though he'd been electrocuted -and no darkened face. Too PC for that these days.) Some of the dialogue was strongly 21st century which suited the overall tone - though was it really necessary for the Queen of the Night to use a four-letter word?

If you didn't know the story, or couldn't remember what happens, you wouldn't know that normally Tamino is chased on by a Serpent. No Serpent here, though the three ladies did some rather odd swordplay as a substitute. And equally, in the second half, if you weren't familiar with things, you'd wonder what on earth Tamino and Pamina were up to when they were going through their trials, which, quite honestly, wouldn't have caused much of a flutter to any 21st century person of self-esteem.

So much for the minor quibbles.

Only one major quibble, and this was a matter of casting. The 19-year-old who played Sarastro, Robert Lindsay, will have a good bass voice in time, but it was an awfully big ask to cast him in a part that requires an utterly rich bass sound, one that shocks us with its authority. I heard that he'd been subbed in when someone else couldn't play the part. Be that as it may, surely in the whole of Dunedin there is a bass singer with some gravitas who could have done this role. Why are Opera Otago's productions now being cast almost entirely with University students?  Dunedin has plenty of good singers and actors. Don't they get a chance to audition for these productions?

Okay, I think that's the quibbles. Better to get them out of my hair.

Here are the things that impressed: (non-University student) James Adams as Tamino. What a great voice this man has, and he can act as well. He was in Anthony Ritchie's This Other Eden back in 2014, and gave a great performance there. Here he did Mozart justice at every point. I was keen to see James perform, because he was in Opera Alive for two or three years; it was a group I was musical director for, for around seven years.

Tyler Neumann (whom I saw at a Jonathan Lemalu masterclass last year, and who didn't then seem to have the strength for an opera) gave a delightful performance as Papageno: good singing, good comedy and sheer enjoyment in everything he did.

Ingrid Fomison-Nurse played the Queen of the Night. This role doesn't usually require a lot of acting: it's the singing we're focused on. This young lady didn't disappoint. Those wonderful notes that sit high above the stave were all there, and in general she did an admirable job, even if a few notes were missing from the runs.

Her three Ladies had a good deal more to do in this version than I remember from previous productions; that was fine: Julia Moss-Pearson, Beth Goulstone and Claire Barton (another former Opera Alive participant) were all in fine voice and sang Mozart's wonderful harmonies superbly. Mentioning Opera Alive reminds me that Claire, who is short, sang a song in one of the OA shows alongside the tallest Opera Alive member we'd ever had. He was a singer from one of the Pacific Island countries, and I can't remember his name any more, but the lovely contrast of tall and short went over very well with the audience.

The other two soprano roles, Pamina and Papagena (here called Poppy Gainer, for some reason - there was a bit of inconsistency in renaming the characters) both did great jobs with their singing. From the point of view of the quality of singing this cast certainly shows that singing training at the University Music School is up with the best. Both the ladies gave good lively performances too.

There was no chorus, so three young men had to deal with all the work usually done by a larger number. That was a pity, because the male chorus music in this opera is beautiful. Why couldn't a chorus be found for the production? Choruses are an essential part of opera.

The three 'boys' were played by three girls, which was fine, as the blend of voices works just as well. The ensemble writing in The Magic Flute is consistently interesting musically, and it was a delight to hear it performed so well from all the cast.

The set design. Well, this was a bit of a curiosity. A kind of lattice hung down from the flies in the centre of the stage. It was well lit, but it meant that anyone standing behind it, or just underneath it, wasn't nearly so well lit. The remainder of the scenery consisted of a platform with steps leading off down the front, and a ramp leading off on either side. Extra work for the singers getting up and down these, as they did continually during the night. Yes, it gives variety of ways to place your singers, but it also means that audience really wonders, in their heart of hearts, why the singers so often go racing up the steps and then down a ramp, when it was far easier to just walk around the construction. Yes, I know, far too fussy.

There was also a large screen at the back on which black and white and somewhat fuzzy photographs were projected. These seemed to bear no relation to the story or the settings. I guess whoever designed this aspect knew what they were on about. However it wasn't clear to the audience - or at least this part of the audience, or the people I was with.

Costuming had its points: both Papageno and Tamino were intriguingly dressed, one in overalls and the other in hiking gear. But as the evening wore on the colour in the costumes became increasingly dull: Pamina wound up in something that was reminiscent of an army green, and Papagena/Poppy wasn't very bright for a character who's origin is birdlike. The members of Sarastro's community were dressed in long robes, but there was little decoration.

Well, you can't have everything, I suppose. The singing (and orchestra playing - from a smaller number of musicians than Mozart wrote for) was excellent. Mozart's music continues to shine - you even come out of the theatre humming the tunes. Those things in themselves are of great value.

Flute

I would think that someone who was a beginner was probably also 'new', but I found this tautological phrase in an advertisement today: new beginner flute at WWBW. WWBW stands for The Woodwind and Brasswind. Yup, that's it: I presume the word 'shop' is assumed at the end, as, The Woodwind and Brasswind shop.  I can't say I've ever heard of the word, Brasswind, before either, though I guess it's a fair enough description of the instruments used in a brass band.

I've just rethought the 'new' - perhaps it refers to the flute, rather than the beginner.  Could be!

$6 a day

Gated communities and retirement home complexes (like Table Rock Lake homes) sound like a mixed blessing to me. I visit one of them fairly regularly when I play for some singers who present short concerts there. The idea of living in one doesn't appeal much to me, but then perhaps I'm not at the stage of life yet where it would...if there is such a stage. Equally, perhaps I'm not the sort of person for whom the idea of a close-knit (but elderly) community appeals. I like people of all ages. As no doubt many of the residents of these communities do.

You may have read in the news recently about Richard Giese, the retired flautist who had worked for many years with the NZ Symphony Orchestra. He hadn't paid the extra $6 a day ($42 a week; $180 a month) that it cost to have someone checking on him daily in his retirement village home. He lived a reasonably active life for an 85-year-old - walking to the shops, playing his flute every day, going to the doctor on his own and so on - so I guess he thought he didn't need to pay any money for something that he wasn't concerned about.

Some time between February the 18th and March the 8th, he died of a heart attack. His lights remained on for a week, his mailbox wasn't cleared, and a neighbour realised she hadn't heard his flute for some days. And finally notified the retirement village staff.

His former wife was apparently the last person who spoke to him, and she said she was amazed that no one had checked on him, thinking that would be par for the course for a retirement village. In fact she rang the coroner when she heard that the date of death was undetermined.

The Dominion Post reported that Susan Bowness, North Island regional manager for Ryman Healthcare, which runs Rita Angus and 22 other villages, said residents were able to request daily checks, for a fee of $6 a day. Mr Giese had never asked for such checks, and it appeared his death was sudden.

Ms Bowness said the company was not required to check on its independent residents. "It needs to be understood that they are truly independent – they only get the services they request."

They only get the services they request. When asked by the coroner what could be done to ensure residents' safety, Ms Bowness said, management needed to make sure residents understood that the service was available if they needed it. Um, is that ensuring the residents are safe?

Also available - for an additional fee in each case - are the following:

Residents can ask for meals to be delivered.

Can eat at the dining room.

Can have medication to be brought to them.

Can have someone check on them.

Can have an evening telephone check.

Can have healthcare services provided by the village rather than by their own doctors.

It seems as though being old in some retirement villages can be quite an expensive business, if each of these items cost an additional $6 or more a day.