The Black Magic Woman Santana is an iconic song by the legendary rock band Santana. Released in 1970, it quickly became one of their most popular and enduring hits. The song features a unique blend of rock, blues, and Latin influences, showcasing the band's signature sound. The lyrics of Black Magic Woman evoke a sense of mystery and allure. The opening verse sets the mood, describing a woman who possesses a dark and captivating power. The protagonist is simultaneously drawn to and wary of her enchantment, as expressed in the lyrics, "Got a black magic woman, She's got me so blind, I can't see, That she's a black magic woman, She's trying to make a devil out of me.
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.
The protagonist is simultaneously drawn to and wary of her enchantment, as expressed in the lyrics, "Got a black magic woman, She's got me so blind, I can't see, That she's a black magic woman, She's trying to make a devil out of me." Carlos Santana's distinctive guitar playing is central to the song's success. His soulful and expressive playing style brings the music to life, and his guitar solos throughout the song elevate it to another level.
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
With its energetic rhythm and infectious melody, Black Magic Woman remains a fan favorite and a staple of Santana's live performances. The song's origins can be traced back to the 1960s blues-rock band Fleetwood Mac. Their guitarist Peter Green wrote and recorded the original version of Black Magic Woman in 1968. Santana's interpretation added their unique Latin sound and transformed it into a massive hit. Black Magic Woman Santana played a crucial role in popularizing Santana's music and introducing them to a wider audience. It helped propel their second studio album, Abraxas, to commercial success and further cemented Santana's reputation as pioneers of fusion music. Over the years, the song has been covered by various artists, further showcasing its enduring appeal. Some notable covers include versions by rock band Journey and blues guitarist Gary Moore. Each interpretation brings its own twist to the song while keeping the essence of the original intact. Black Magic Woman Santana continues to enthrall listeners with its captivating lyrics, infectious melody, and mesmerizing guitar work. Its timeless quality ensures its place as a classic in the rock music canon. Whether you are a long-time Santana fan or just discovering their music, Black Magic Woman is a must-listen. Its magic is sure to enchant and captivate you..
Reviews for "From Riffs to Rituals: The Mystical Aura of Santana's Black Magic Woman"
1. Julia - 2/5
I was really disappointed with "The Black Magic Woman" by Santana. I had heard so many great things about this album, but I found it to be quite underwhelming. The songs lacked depth and originality, and I found myself losing interest after just a few tracks. The guitar solos, which Santana is known for, felt forced and overdone in this album. Overall, I felt like this was a weak effort from Santana and not representative of his true talent and musical abilities.
2. Mark - 1/5
"The Black Magic Woman" by Santana was a complete letdown for me. I have always been a fan of Santana's music, but this album just did not do it for me. The songs all sounded the same, and I found myself struggling to differentiate one track from another. The production quality was also extremely poor, with the vocals and instruments often sounding muddled and unclear. I was expecting more from Santana, but instead, I was left feeling unsatisfied and longing for his earlier, more iconic music.
3. Sarah - 2/5
I had high hopes for "The Black Magic Woman" by Santana, but unfortunately, it did not live up to my expectations. The songs felt repetitive, with little variation in musical style or melody. While Santana's guitar playing is undeniably skillful, it felt like he was relying on the same old tricks without bringing anything new to the table. I appreciate the intention behind the album, but the execution fell short for me. Overall, "The Black Magic Woman" felt like a missed opportunity for Santana to showcase his true artistry and creativity.