Once upon a time in a magical land, there was a wicked witch known for her cunning tricks and mischievous ways. Unlike other witches, she didn't rely on her broomstick for transportation. Instead, she preferred to travel on her trusty, enchanted bike. This bike was no ordinary mode of transportation. It had been imbued with dark magic, allowing it to glide effortlessly through the air and move at incredible speeds. With one cackle from the witch, the bike would spring to life, its wheels spinning in a haze of purple smoke.
Mozart’s final opera (written before La Clemenza di Tito but first performed later) premiered in Vienna in September 1791, just weeks before the composer’s death, with Mozart conducting the orchestra from the fortepiano. A timeless fairy tale, it was a major success from the beginning and never lost its place as one of the most popular works in the repertoire. Julie Taymor’s beloved Met production opened in 2004. Its abridged English-language version, which returns in December 2013 as the company’s annual holiday presentation for families, inaugurated the Met’s Live in HD series of performance transmissions to movie theaters around the world in 2006.
This abridged, English-language presentation for families launched the Met s Live in HD series of movie-theater transmissions and appeals to music lovers of all ages. If past productions of the opera at The Met by Marc Chagall 1967 , David Hockney 1991 and Taymor 2004 were brilliantly colorful, McBurney s production may seem dark but it emphasizes the opera s music-theater roots.
With one cackle from the witch, the bike would spring to life, its wheels spinning in a haze of purple smoke. The wicked witch would often take her bike on daring adventures, swooping through the night sky and causing chaos wherever she went. She would ride through sleepy villages, scaring bewildered townsfolk as she zoomed past with her cackling laughter echoing in the night.
Mozart's 'The Magic Flute' as a portal, at The Met Opera & beyond
I distinctly remember the first time I heard the vengeance aria, “Der Hölle Rache,” from Mozart’s The Magic Flute. It was during Miloš Forman’s film adaptation of Peter Shaffer’s play Amadeus in 1984, at what is now Bryn Mawr Film Institute. Wolfie’s mother-in-law starts berating him for not being a good provider, and her anger morphs into a performance of the opera as the Queen of the Night urges her daughter Pamina to slay Sarastro. The effect on my 16-year-old ear, brain, and soul was magical. The glittering, bell-like qualities of soprano June Anderson’s voice literally took my breath away. I’d never heard anything like it. The aria was a pivotal entry point for me into the world of opera.
The opera is such a great onramp for new and younger audiences to opera that The Metropolitan Opera used it to inaugurate its holiday opera offerings in 2006 with Julie Taymor’s spectacular production in a family-friendly 100-minute abridgement in English. The Met continues to offer that production during the holidays, retiring it from use beyond December performances.
In its place is director Simon McBurney’s acclaimed 2012 Dutch National Opera production, which will be heard this Saturday, June 3 at 1 p.m. on 90.1FM WRTI or at wrti.org as part of the Toll Brothers - Metropolitan Opera International Radio Network. If past productions of the opera at The Met by Marc Chagall (1967), David Hockney (1991) and Taymor (2004) were brilliantly colorful, McBurney’s production may seem dark — but it emphasizes the opera’s music-theater roots.
The Met OperaThe Magic Flute premiered at the Theater auf der Wieden, Vienna in 1791. Its composer had known the theater’s founder, Emanuel Schikeneder, since about 1780, when Schikeneder befriended the Mozart family during a stay in Salzburg. Schikeneder was highly regarded for his theatrical skills, and was one of the most-renowned German-language interpreters of the role of Hamlet in his day.
The Theater auf der Wieden performed plays, operas and singspiels; Schickeneder had an uncanny sense for what audiences wanted and liked. He worked with Mozart on the allegorical, Masonic-themed plot for The Magic Flute, which would feature actors from the Theater troupe that could sing, and opera singers who Mozart knew intimately. The role of the Queen of the Night was played by Mozart’s sister-in-law; Tamino was played by one of his best friends; and the part of Pamina, who was only 17 at the time, had premiered the role of Barbarina in The Marriage of Figaro when she was merely 12! The opera was a spectacular success with 100 performances within 14 months of its premiere. But Mozart did not live to see this success, dying just over two months after the opera’s premiere.
If Mozart and Schickeneder captured the imagination of Vienna’s audiences with the opera’s fantastical elements and extraordinary music, Simon McBurney’s production brings the audience into the work by breaking the fourth wall with musicians coming out of the pit to play Tamino’s flute and Papageno’s chimes, raising the orchestra pit so that the players are easily visible throughout the performance, and starting the overture with the house lights still on. Costumes bring us into the story, too, with the cast in recognizably contemporary clothing that illuminate their characters — from the businessman Sarastro, the elderly wheelchair-bound Queen of the Night, and Pamina in athleisure wear.
For all its allegory, Flute has problematic elements today. Act I tells us that the Queen of the Night is good and Sarastro is bad, yet in Act II we confusingly learn the opposite is true.The opera treats the Moorish character of Monastatos with racist overtones that are downplayed or ignored today. And the libretto is decidedly misogynistic: at one point, Sarastro tells Pamina that “A man must guide your heart, for without that, every woman tends to overstep her natural sphere.” But aside from any dramaturgical or content challenges, McBurney sees the story as a fairy tale, a flight of the imagination, and more.
Still, at the heart of any Flute is its music. It is a work of musical extremes, from the aforementioned Queen of the Night’s Aria,with its vocal acrobatics, to Tamino’s noble utterances and Papageno’s earthy comedic moments. Within those extremes is a central musical energy of profound goodness and love. We can hear that in Pamina’s duet with Papageno in Act I, “Bei Männern, welche Liebe fühlen” (In men, who feel love) and in Sarastro’s profundo “In diesen heil'gen Hallen.” (Within these sacred halls.) The intensity of Pamina’s love for Tamino is easily sensed when she fears that all might be lost between them in “Ach, ich fühl's, es ist verschwunden.” (Ah, I feel it, it is vanished).
There are undeniable riches in Mozart’s final opera. The cast for this performance could not be bettered, with Lawrence Brownlee (Tamino), Erin Morley (Pamina), Thomas Oliemans (Papageno), and Stephen Milling (Sarastro). Soprano Kathryn Lewek has sung the Queen of the Night at The Met more than any other soprano in the company’s history. She took to YouTube to share a little bit about the role and this production.
And if the Queen’s vengeful aria was a pivotal entry point for me into the world of opera, it is certainly familiar to many on Earth — and beyond: soprano Edda Moser’s iconic dramatic-soprano interpretation was the only recorded opera excerpt to be included in a collection of music from Earth on the Voyager 1 and Voyager 2 spacecraft. Maybe extraterrestrials will fall in love with Mozart, too!
This production runs: Dec 8 - Dec 30
No one could ever catch the witch on her bike. She was too swift, too sly, and always one step ahead of her pursuers. It seemed as though she had a supernatural connection with her bike, as if she and the enchanting contraption were one. But beneath her wicked exterior, the witch had a secret. While her bike was a tool of mischief and mayhem, it also brought her a sense of freedom and joy. In the dead of night, when the moon was high, she would ride through the forest, feeling the wind rush through her hair and the thrill of the night encompassing her. Though she relished in the chaos her bike brought, the wicked witch couldn't help but feel a twinge of loneliness. She longed for a companion who could share in her adventures, someone who could appreciate the whimsical nature of her enchanted bike. Alas, no one understood her, and so she continued to ride alone. The wicked witch on her bike became a legend, a mysterious figure that children whispered about in hushed tones. Some feared her, others admired her audacity, but all were captivated by her otherworldly presence. As the years passed, the witch's antics on her bike continued to bewilder and entertain. She became a symbol of untamed magic and a reminder that even the wicked could find joy in unexpected places. And so, the legend of the wicked witch on her bike lived on, etched into the folklore of the magical land, forever bound together in tales of mischief and enchantment..
Reviews for "Witchy Workouts: Magical Fitness Tips from the Wicked Witch on a Bike"
1. John - 2/5
I was really disappointed with "Wicked Witch on Bike". The storyline felt disjointed and the characters lacked depth. I had high expectations for a thrilling and captivating performance, but it fell flat. The humor was forced and I didn't find myself laughing as much as I had hoped. Overall, I wouldn't recommend this show if you're looking for quality entertainment.
2. Sarah - 1/5
"Wicked Witch on Bike" was one of the worst performances I have ever seen. The acting was subpar, and it felt like the cast was just going through the motions. The supposed humor was cringeworthy and I couldn't wait for it to be over. Save your time and money and skip this show.
3. Emily - 2/5
I found "Wicked Witch on Bike" to be quite underwhelming. The plot was confusing and didn't make much sense. The musical numbers were lackluster, and I couldn't connect with any of the characters. It felt like a wasted opportunity for a great show, and I left feeling disappointed.
4. Michael - 1/5
I couldn't understand why "Wicked Witch on Bike" received any positive reviews. The production quality was low, and the acting was unconvincing. The jokes fell flat, and I struggled to stay engaged throughout the entire performance. It's definitely not worth your time or money.
5. Laura - 2/5
"Wicked Witch on Bike" had potential, but it failed to deliver. The storyline was confusing and lacked cohesion. The humor was forced and the jokes felt repetitive. I was hoping for an entertaining evening, but I left the show feeling disappointed and unimpressed. I wouldn't recommend it to others.