Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote Queen of the Night Pamina

‘The Magic Flute’ by Uni of Sydney is perfect for future opera singers

Sure, it’s one thing to see some of the world’s greatest opera singers do their thing for the likes of Opera Australia, but what about the up-and-coming talent that you don’t see too often?

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote witches

Well, a lot of them come from the likes of Sydney’s prestigious Conservatorium of Music, are students and offer some of the greatest talent the city and range of anyone with a decent set of pipes has to offer.

“It is liberating to work with such an adventurous and talented cast. There is a lot of emotion in this opera and the opportunity for personal growth. We have a very spirited group of young stars, and it is this free spirit that Mozart was looking for in his opera,” said Roger Press, guest director with Opera Australia.

MORE: Why Opera Australia’s performance of ‘The Magic Flute’ is a must-see

In a recent production of Mozart’s easy-to-watch, timeless classic that is Die Zauberflöte (The Magic Flute), those singers of such immeasurable talent took to the stage in a flurry of multi-generationally inspired costumes and make-up to tell the story of a quest for wisdom and true love, mystical existence and fantastic fancy.

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote Papageno

The Con Opera performers really are miniature forces to be reckoned with. From their on-stage acting to effortless presentation of some of the most tricky arias for even the most seasoned professionals, the singers take their position and work it into a professional and talented exposition of their range, skill and passion for their art you not only see.

“This is operatic team work at play. There are extraordinary arias by Queen of the Night performed by Esther Song and Aimee O’Neill who, in their iconic arias of hate and revenge, reach some of the highest notes of the operatic repertoire.

“But the complexity of this opera doesn’t just lie in the high notes. Rather, it is about getting a perfect blend of vocal ranges amongst this exceptional cast of flourishing opera stars,” said Dr Stephen Mould, Senior Lecturer in Conducting and Operatic Studies, Sydney Conservatorium of Music.

Taking inspiration from the movies, director Michael Gow and designer Robert Kemp set this production of Mozart’s final work for the stage as a rollicking adventure in 1930s Egypt.

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote Papageno Pamina

A unique interpretation of the storyline, but Kemp didn’t care, and neither did Mozart, opting instead to allow the music and vocals of the singers to appeal to all manner of appreciation. He was far more concerned with firing his audience’s imagination through the power of music and the cast take that in their stride.

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote brethren

Voices to listen out for are those of protagonists Tamino played so strikingly by Joshua Oxley and Pamina, adopted by the adorably disarming Samanta Lestavel.

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote Tamino

Lestavel is a singer whose capacity to make singing her bubbly arias look so indefatigably simple, it’s really quite impressive.

“There is so much to love about the role of Pamina. She is a young girl at the tipping point of adulthood, so there is so much to work with to make her relatable to the modern audience.  During the opera, she has to establish herself as an individual against her domineering mother, a patriarchal and cult-like group of philosophers, led by her father in this production, while coming to terms with the ups and downs of first love,” said Samanta.

Sydney Conservatorium Music Con Opera Mozert Magic Flute Zauberflote Pamina

Listen to the QUee of the Night’s most renowned aria, Der Hölle Rache kocht in meinem Herzen below:

Check back at the Conservatorium of Music’s website for more in the future.

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