There is a psychologically complex horror at work here, and its unfolding is the most dramatically satisfying element of the opera. Karapetian’s Queen is full of dignity and pathos, while Weiman’s Evil Queen is terrifying, simultaneously repugnant and compelling. Red-haired, dressed in black dress and with black nail-polish, Weiman’s powerful voice, devouring smile and dramatic fearlessness fill the small space with dread and threat.Also:
At its best, The Magic Mirror has moments where musical language and dramatic action come together thrillingly: at the decidedly un-Tristanesque potion-drinking by the King; at the Princess’s apparent death; at moments of transition in the engagement celebration...If The Magic Mirror is not quite a major re-interpretation of a popular fable, it is nevertheless an appealing, accessible and occasionally brilliant early work that should be of interest to audiences seeking new takes on traditional opera.
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A Russian Sleeping Beauty Awakens
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