A piano plays in the cold March night, while the clear, distant resonance of a soprano carries all the way from Russell Hall to Corthell’s neighboring parking lot. Inside the theatre, one set of double doors leads into a room that generally serves as a workshop for set construction; tonight, however, there is the rhythmic shuffle-thump of rehearsing dancers. Through the main stage’s double doors, the piano-and the soprano-are now readily audible. Winter may be holding on for all it’s worth here in Gorham, but one sure sign of spring won’t be silenced: The annual spring collaboration between USM’s Music and Theatre departments.
This year, that collaboration comes in the form of Mozart’s “The Magic Flute,” the last opera completed by the composer before his death. Set in Mozart’s fantastical version of Egypt, the story follows Prince Tamino as he struggles to free the enslaved Princess Pamina, armed only with a magic flute and assosted by the whimsical bird catcher Papageno to aid him in his quest. With mystical overtones, complex orchestration and an intricate subtext, “The Magic Flute” is one of the most popular and frequently performed operas ever written. According to dramaturge Calien Lewis, the show has “never been out of production in 214 years; not even Chorus Line can say that.”
This evening, just 10 days before opening night, the soprano whose voice had initially led me into the hall-Mary Bastoni, as the Queen of the Night-is on the main stage. Her performance, though this is only rehearsal, seems flawless (at least to my admittedly untrained ear). As she sings, one of the actors in the green room entertains several others by mimicking the Queen’s aria, his jaw rising and falling in perfect synchrony with the soloist. I get the message: I may have only been here five minutes, but it’s clear that these guys have been here much, much longer.
According to Director Walter Stump, preparations for the opera began back in the fall. While a musical is performed annually at USM, an opera is less common, going up only once every four years. This particular production will be performed with a full, 39-piece orchestra, conducted by Professor Richard Lehmann; musicians and principal players have been working with the complicated score for months. Now, however, it’s crunch time-something that’s obvious even to a casual observer this evening. While there’s quiet laughter in the green room and outside the main stage doors, there remains an air of gravity and intense focus on stage. Professor Ellen Chickering, the musical director, stands at the back of the theatre, taking notes or occasionally calling out direction to the actors on stage. When a 10-minute break is announced, the principal players drink tea and speak in whispers, saving their voices.
“It’s especially difficult for the principal singers,” Stump says. “From next Sunday on, we’ll go practically every day.” Music performance major Johnathon Bauer, who plays Papageno, agrees that the rigorous schedule is “rough,” adding “We went for 12 hours on Saturday and Sunday…I can definitely feel the strain on my voice. I just try to drink tea and stay quiet when I’m not on.”
That kind of dedication pays off when the curtain rises: according to Theatre Promotions Director Mary Snell, the USM opera usually sells out before opening night. There are a number of reasons for this, most notably the fact that there are less performances and a smaller seating capacity, due to the orchestra. But, beyond the logistical reasons is the simple fact that this is an opera and, if the rehearsal is any indication, it will be one to remember. Whether you’ve never been to an opera before, or you’re regularly freaking out your floor-mates by imitating Maria Callas in the shower, “The Magic Flute” is not to be missed. Performances are 7:30 p.m. March 11, 12, 17, 18, 19 and at 5 p.m. Sunday March 13. Call the box office at 780-5151 for reservations.