Through the University Music Society, I was able to attend the The Magic Flute put on by the Isango Ensemble this last Wednesday and it was undoubtedly an absolute highlight of my week. Being one of Mozart’s most cherished works, to spin The Magic Flute with a fabric of contrasting cultures is nothing short of an ambitious endeavor. However, the Isango Ensemble not only pulled-off this vibrant retelling, but put forth an absolutely stunning celebration of South African culture overtop the iconic musical themes and characterizations of Mozart!
What I believe sets this performance apart from other traditional showings of TMF is the orchestra of marimbas that underlie this classic tale. These marimbas set the mood immediately through the overture, and thankfully grew in variation and tone with the subsequent addition of soulful vocal backup, and percussive instruments, such as trash cans and a djembe. A casual atmosphere was presented through the setup of the orchestra’s placement around the simple set, and an element that I found particularly charming was the blurred barrier between actor and musician, as a player would present their part, slip off stage, and jump onto a rack of marimbas.
The beauty of this performance was in the weaving of classical operatic technique with the sultry timbre of African vocalization, with notes of a rich tonal quality that never fail to cut deep. On many accounts this show was almost overwhelming through the layering of succinct choreography, operatic vibrato, and sweet resonating melodies which soared above the ensemble all at once. On two or more accounts, these charming dance breaks were initiated by the playing of the magic flute itself, for when played it acts to build community and avert destruction and tragedy. This precious item is given to Tamino, a young traveler who finds himself swept into a quest to seek out and retrieve Pamina, the daughter of the Queen of the Night. A remarkable twist, however, is that the playing of the flute is represented by the bluesy trumpet playing of Mandisi Dyantyis, the production’s music director. Alongside conducting the orchestra of marimbas, Dyantyis remained in the background of this performance, but shone throughout the performance with grace and poise.
In a turn of events, however, there seemed to be a slight hiccup on the production crew’s part that took away from an important moment of the show. When the Queen of the Night made her first grand appearance, an intentioned flash of light to dramatize the movement gave way to the house lights inexplicably flying on. While this mistake is forgivable, it did make for an uncomfortable and slightly confusing 30 seconds of production time.
Ever since I had heard of the showing of this production I’ve been anticipating attendance, and my hopes were not let down. The Isango Ensemble puts forth a flowing, rich craftsmanship and does great honor to the work of Wolfgang Amadeus Mozart. This work represents the best of reimagined art, and I can’t wait to see what UMS brings to fruition next!
