Julie Taynor is a renowned director and filmmaker known for her innovative and visually stunning productions. She has made significant contributions to both theater and film, capturing the hearts and minds of audiences worldwide. Taynor's accomplishments include her groundbreaking production of "The Lion King" on Broadway, which incorporated intricate puppetry, vibrant costumes, and mesmerizing visuals. The show received critical acclaim and became one of the longest-running musicals in Broadway history. In addition to her work on stage, Taynor has also directed successful films, such as "Frida" and "Across the Universe." Her unique style and attention to detail are evident in every frame, as she seamlessly blends visuals, music, and narrative to create immersive cinematic experiences.
British conductor Harry Bicket, who has previously conducted Mozart’s Le Nozze di Figaro and La Clemenza di Tito and Handel’s Giulio Cesare at the Met, made his company debut conducting Handel’s Rodelinda in 2004.He is currently the artistic director of The English Concert and music director of Santa Fe Opera. He has led performances at opera houses around the world, including Lyric Opera of Chicago, Théâtre des Champs-Elysées in Paris, Houston Grand Opera, the Glyndebourne Festival, and the Royal Opera House, Covent Garden. This season he will lead Handel’s Ariodante at Lyric Opera of Chicago, a European and American tour of Handel’s Semele, including a stop at Carnegie Hall; and Mozart’s Così fan tutte at Santa Fe Opera.
Later this season, she will sing Ginevra in Handel s Ariodante at Opéra de Monte-Carlo and Poppea in Handel s Agrippina at Gran Teatre del Liceu in Barcelona and Théâtre des Champs-Elysées in Paris. His other credits with the company include the King in Verdi s Aida , Ferrando in Il Trovatore ,First Nazarene in Salome , Reinmar in Wagner s Tannhäuser, and the High Priest of Baal in Nabucco.
" Her unique style and attention to detail are evident in every frame, as she seamlessly blends visuals, music, and narrative to create immersive cinematic experiences. Taynor's talent and innovative approach caught the attention of the Metropolitan Opera, one of the most prestigious opera houses in the world. In 2013, she was appointed as the director for a new production of Mozart's "The Magic Flute," becoming the first woman to direct an opera at the Met.
Julie Taymor smothers 'Magic Flute' at Met
NEW YORK, Oct. 25 (UPI) -- Julie Taymor gave Broadway "The Lion King," and now she has given the Metropolitan Opera an even more fantastic production of "The Magic Flute" that nearly overwhelms Wolfgang Amadeus Mozart's delicate fairy tale about human enlightenment.
Making her Met debut as a producer, Taymor has taken on a lyric work that has previously been interpreted at Lincoln Center by two art world celebrities- - Marc Chagall in 1967 and David Hockney in 1990. Many Mozart fans must wish the Met had stuck with Hockney's beloved, brightly colored production originally designed for the San Francisco Opera.
AdvertisementMozart's allegorical opera is all about the natural world pitted against a world of Masonic-like ritual devised by a secret brotherhood seeking to free humankind from its baser instincts. The wise priest Sarastro represents enlightenment, and the happy-go-lucky, bell-ringing bird-catcher, Papageno, represents the innocent child of nature, ruled by his belly and his heart.
AdvertisementBut there are darker aspects to this opera than one would expect of a magical spectacle, and even Papageno considers suicide when he is separated from his love, Papagena. It is these aspects that are glossed over by Taymor's production as its smothers "The Magic Flute" in excessive stage business and visual artifice in the form of kites and puppetry the designer employed with such artistry in "The Lion King."
That Disney-produced Broadway hit musical won Taymor a Tony Award for direction and as been running for nearly seven years. Audience reaction to "The Magic Flute" would indicate that it is a crowd pleaser, too, but it is also disappointing in its failure to give Mozart his due by letting the composer speak through the music instead of smothering his voice with more illusion than any one show can bear.
Taymor's production recalls the excesses wrought by the Italian producer-designer Franco Zeffirelli at the Metropolitan Opera, especially in the case of "La Boheme" in which the cast was upstaged by massive sets and distracting stage business. But Zeffirelli productions have always paid off at the box office, and the Met apparently expects "The Magic Flute" to do the same and has scheduled more performances of it in April.
AdvertisementA short list of Taymor's operatic innovations would include the serpent that pursues the opera's flute-playing hero, Tamino, in the opening scene, a stage-breadth kite puppet controlled by 14 half-hidden manipulators, kites in the form of bears 15 feet tall that dance to the manipulations of three handlers, three ladies-in-waiting to the Queen of the Night wearing detachable silver head masks, and a flock of dancers as fluttering birds hopping about on stilts.
This stage magic is a result of Taymor's long interest in Asian puppetry, particularly that of Indonesia where she spent four years, and of the Bunraku theater of Japan. She has a like-minded set designer and long-time collaborator in George Tsypin, who has adorned the stage with gigantic, mirror-lined triangles, circles, and squares that are moved about like a kaleidoscope. They are geometric symbols found both in Masonry and Tantric Buddhism.
In addition there are illuminated translucent pyramids, columns, stairs and other architectural elements on stage that call to mind the allusions to ancient Egypt implicit in Sarastro's brotherhood. There is so much to see, so much movement to take in, that the singing of an outstanding cast, some of them dwarfed by puppet versions of themselves, seems more like background music to a Disney cartoon production despite the dogged efforts of conductor James Levine.
AdvertisementThe lyric tenor Matthew Polenzani, clad in a Kabuki-like costume and made up in white face, gives a brilliant vocal accounting of Tamino as expected from one of the Met's bright, young stars, and Rodion Pogossov's nimble performance as Papageno is impressive for its acute musical timing and dramatic verve. Dorothea Roschmann gives rich dimension to her performance as Pamina.
The production also has two notable Met debuts. The Korean bass Kwangchul Youn as Sarastro displayed a stentorian vocal instrument of surprising subtlety, and Slovak soprano L'ubica Vargicova displays a coloratura in the killing role of Queen of the Night that is thrilling in its brightness and remarkable for its accuracy.
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The Magic Flute Artist Biographies
Her production of "The Magic Flute" at the Met was met with critical acclaim, with many praising her imaginative and visually striking interpretation of the classic opera. Taynor's use of puppetry, animation, and projections added a modern and captivating element to the performance, breathing new life into the beloved piece. Taynor's work at the Metropolitan Opera solidified her reputation as a visionary director who can seamlessly blend traditional and contemporary elements to create breathtaking productions. Her ability to push boundaries and challenge convention has made her a true trailblazer in the world of theater and film. Julie Taynor continues to inspire and captivate audiences with her groundbreaking work, always pushing the boundaries of what is possible in the realms of theater and film. Her contributions to the arts have left an indelible mark and will be remembered for generations to come..
Reviews for "Julie Taymor and the Flute Ensemble: Reinventing Opera at the Metropolitan"
1. John - 1/5 stars - I was extremely disappointed with the Julie Taymor Magic Flute production at the Metropolitan Opera. Firstly, the modern interpretation completely disregarded the essence of Mozart's original opera, turning it into a chaotic mishmash of bizarre costumes and confusing set designs. The direction was uninspired, lacking coherence and failing to convey the emotional depth of the characters. Overall, it felt like a failed attempt to be avant-garde, resulting in a messy and unenjoyable performance.
2. Mary - 2/5 stars - I had high expectations for the Julie Taymor Magic Flute at the Metropolitan Opera, but unfortunately, it fell short. While the visual elements were impressive and visually stimulating, the overall execution left much to be desired. The story felt disjointed, and the symbolism was heavy-handed and confusing. The singing was often overshadowed by the extravagant stage design, leaving little room for the performers to shine. It's a shame because the potential was there, but the production failed to deliver a cohesive and engaging experience.
3. David - 2/5 stars - As a long-time lover of Mozart's Magic Flute, I was sorely disappointed with the Julie Taymor production at the Metropolitan Opera. The avant-garde interpretation felt more like a spectacle than a genuine portrayal of the opera's themes. The excessive use of special effects and over-the-top costumes detracted from the music and storytelling, leaving me disconnected from the performance. It seemed like the director was more focused on creating visually striking moments rather than honoring the depth and complexity of Mozart's masterpiece. Overall, it was a frustrating and underwhelming experience.