Review: MOZART'S THE MAGIC FLUTE at Ouachita Baptist University McBeth Recital Hall

Ouachita Baptist University’s Division of Music Opera Theatre Workshop brought Mozart’s The Magic Flute to sparkling life November 16–17 in McBeth Recital Hall, offering an intimate, imaginative take on the beloved Singspiel. Using the English translation, this particular staging was presented as a condensed, intermission-free, hour-and-a-half version of the opera, which was an ideal format for both new audiences and emerging artists, keeping the pacing brisk while preserving the musical brilliance of Mozart’s work. Under the direction of Dr. Jeduthun Kim, with Opera Coach/Pianist Dr. Ian Aipperspach accompanying from the piano, the production showcased not only the vocal demands of Mozart’s score but the courage and dedication of a young company leaning fully into the world of opera. 

For those new to the piece, The Magic Flute follows Prince Tamino, played with noble sincerity by Jayden Gumm, who is rescued from danger and sent on a quest to save the kidnapped Princess Pamina, portrayed with emotional honesty by Valerie Barnthson. Guided by a magic flute and accompanied by the lovable bird-catcher Papageno, brought to life with irresistible humor by David Granger, Tamino must prove his worth through a series of trials set by the wise Sarastro, portrayed with authority by Kade Loomis. Along the way, he crosses paths with Papagena, charmingly played by Katie Miller, whose duet with Papageno delivered some of the sweetest, funniest moments of the night. Caught between the manipulative Queen of the Night, sung with fiery passion by Karlie Johnson, and the brotherhood of Sarastro’s temple, Tamino discovers that love, enlightenment, and virtue are worth any sacrifice. Even in its shortened format, this production preserved the opera’s core narrative arc and musical highlights, offering a tight, engaging journey through Mozart’s mystical, fairy-tale world. 

Staging The Magic Flute in McBeth Recital Hall, Dr. Kim’s direction embraced the whimsical, fantastical nature of the piece while maintaining clarity and sincerity in its moral and philosophical grounding. With simple yet effective staging choices, dynamic set pieces, and imaginative character interpretations, the recital space transformed into forests, temples, and magical realms, all shaped by the performers’ commitment and the audience’s imagination. 

The costumes were absolutely stunning, adding a rich visual layer to the already enchanting production. Costume Designer Dr. Candice Aipperspach curated a collection that balanced fairy-tale whimsy with operatic elegance, giving each character a distinct visual identity. The standout, unsurprisingly, was the Queen of the Night’s breathtaking dress, dramatic, regal, and shimmering with dark overtones. Every time Karlie Johnson swept onto the stage in that gown, the audience audibly reacted. From Papageno’s earthy, textured look to Pamina and Tamino’s refined simplicity, each design choice enhanced the storytelling and made the magical world of Mozart feel fully realized within the intimate recital hall. 

Providing the musical foundation for the entire opera, Dr. Ian Aipperspach’s pianism was a standout of the evening. His sensitive phrasing, crisp articulation, and ability to adjust instantly to the singers made the performance feel cohesive and confidently supported. Without an orchestra to disappear into, every line, ornament, and transition was exposed, yet he played with elegance and responsiveness, making the piano feel like a full storytelling partner. For student singers, having such an experienced musician at the keyboard was an enormous gift. 

The cast handled Mozart’s vocal demands with impressive poise. Valerie Barnthson’s Pamina brought vulnerability and sincerity to the stage, shaping her lines with expressive nuance and emotional weight—her moments of despair and hope were genuinely affecting. Karlie Johnson’s Queen of the Night was a showstopper, delivering her stratospheric coloratura lines with fearless attack. Her presence electrified the room every time she appeared, and the audience responded with well-deserved enthusiasm. 

As Papageno, David Granger, who wins my starry-heart eyes, stole hearts with his warmth, comedic timing, and playful physicality, keeping the audience laughing and fully engaged. He was super funny, one of those performers who can get a laugh with just a look, and he had everyone in the hall chuckling throughout the show. His lovable, everyman energy balanced the opera’s more serious moments beautifully. His chemistry with Papagena, played with charm and sparkle by Katie Miller, made their scenes a delight, especially in their joyful finale together. 

The Three Ladies—Jeannie Higdon, Kate Kelley, and Cara Cannon—made a striking impression as the Queen of the Night’s attendants. Their blended sound, poised stage presence, and beautifully shaped duets added richness and shimmer to every scene they touched. Their vocal unity and dramatic cohesion provided some of the most musically satisfying ensemble work of the evening, perfectly capturing the enchanting yet cunning nature of their characters. 

What made this performance especially gratifying was seeing the educational purpose woven into every moment. Opera Theatre Workshop clearly cultivates a space where students are invited to take artistic risks, tackle demanding repertoire, and blend acting with advanced vocal technique. Watching these young artists navigate spoken dialogue, comedic beats, and emotionally charged arias with such commitment demonstrated how much growth is fostered here. Presenting a condensed version of a full-length Mozart opera is no small undertaking for a university program, and these performers rose to the challenge with heart and professionalism. 

Once again, Ouachita Baptist University proves to be at the top of the list for Fine Arts education, offering a vibrant environment where students are challenged, supported, and inspired to grow into confident, compelling performers. To take you educational path to the next level, visit their website at https://www.obu.edu/finearts. 

PRODUCTION TEAM

Director -- Dr. Jeduthun Kim

Opera Coach/Pianist -- Dr. Ian Aipperspach

Stage Manager -- Jordyn Purtle

Costume Designer -- Dr. Candice Aipperspach

Costume Design Crew -- Graceanne Ashlock, Jennie Higdon, Miriam Vermeer, Virginia Waterman

Hair & Makeup Crew -- Jennie Higdon, Virginia Waterman

Props -- Dr. Jeduthun Kim, Mrs. Suzie Kim

Set Build -- Dr. Jeduthun Kim, Mrs. Suzie Kim

Sound Operator -- Steven Hibbard