Chorus members sported masks, so this Opera Hong Kong production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro wasn’t quite a return to complete normality, but the socially-distanced audience for the first Hong Kong opera performance in almost a year enthusiastically took what they could get.
Hong Kong’s Musica Viva has incrementally moved from one full opera production per year—in December—to two. If this recent production of Mozart’s comic masterpiece is any indication, the smaller production in late September featuring entirely local singers has, over the past couple of years, matured and is hitting its stride.
One can make a case for Wolfgang Amadeus Mozart’s Don Giovanni being the best opera ever written. There is Mozart’s inimitable music, of course, but also the story, at once irrepressible and and morally-nuanced, perky yet profound. Yet, with two 90-minute acts, it can sometimes drag. But not on this opening night.
Opera Hong Kong’s summer semi-staged performances showcase local singers; this year’s production was Wolfgang Amadeus Mozart’s Die Zauberflöte. The fact that this work is more commonly known by its English name, The Magic Flute, is an indication that it is somewhat unusual: it’s known as a “singspiel”, or “sing-play”, which, like a musical, has spoken dialogue between the singing.