“Ah-ahahahahahah-ah”. The verses of the most recognizable opera aria in history. Music by the legendary Wolfgang Amadeus Mozart. A story about truth and lies, love and revenge, and day and night. These pieces come together to create the magic of The Magic Flute. Ever since it was first performed in 1791, The Magic Flute has been one of the most iconic opera pieces. Centuries later, from September 30 to October 2, people of Daejeon had the chance to relive that magic through the Daejeon Opera Company’s rendition of The Magic Flute, performed at the Daejeon Arts Center. First formed in 1988, the Daejeon Opera Company has been performing musicals, operas, and gala concerts for the Daejeon public. 

The Magic Flute follows the story of Prince Tamino, who is tasked with rescuing the Queen of the Night’s daughter, Pamina. Together with his sidekick and comic relief Papageno and the magical flute he received from the ladies that serve the Queen of the Night, Tamino ventures to the realm of Pamina’s kidnapper, Sarastro. However, he learns that it is not Sarastro but the Queen of the Night who is evil and decides to participate in initiation rites to truly be worthy of Pamina. The opera plays around themes of the power of love, corruption, and revenge, while incorporating Masonic principles that hail the truth and condemn obscurity, the concepts symbolized by day and night respectively.

While keeping the main gist of the story, Daejeon Opera Company modified The Magic Flute so that locals could enjoy it. The Magic Flute was written entirely in German, but the Daejeon Opera Company only sang the recitatives and arias in their original language with translated Korean subtitles projected at both sides of the stage. The rest of the dialogue, including Papageno’s occasional jokes, was performed in Korean. Watching the stage and the projected subtitles at once was a hassle at first, but thanks to my second floor seat, I got used to quickly glancing at the side for the translation after the first piece. However, I could not imagine how difficult it would have been for people seated at the first floor to do so, which were ironically the more expensive seats.

The set and costume designs also had a revamp to create a more oriental and familiar atmosphere. While the famous stair structure was kept on the main stage, the background was designed to resemble traditional Asian folk art with swirling clouds and steep mountains. The costumes of Prince Tamino, Pamina, and Papageno are a modernization of hanbok, the Korean traditional attire. Interestingly, the Queen of the Night’s faction kept their western costumes; the Queen of the Night’s shiny, over-the-top black dress and large headdress was the most impactful. I expected the show to be a “traditional boring opera”, but these small original details and changes grabbed my attention and subverted my prejudice on operas.

These changes to The Magic Flute may repel hardcore, traditional opera fans, but this rendition continues the spirit of The Magic Flute. The Magic Flute was originally composed to popularize opera among the masses, an aspect of that being that it was written in German rather than Italian unlike traditional operas. The Daejeon Opera Company’s version of The Magic Flute has the same effect. Many children watched the show with delight, laughing at Papageno’s jokes, focusing intensely with the increasing intensity of the plot, and cheering loudly for the cast during the curtain call. It is difficult to create entertainment that people of all ages can enjoy together. Nevertheless, with The Magic Flute’s original magic along with audience-tailored details, the Daejeon Opera Company’s version of The Magic Flute captivated everyone during its entire two-hour run.

Opera as an entertainment medium is one with a high barrier for new audiences. It is almost always sung in its original language, may it be Italian, German, or French. Some may find its tone too pompous and serious. However, there are comedic operas from composers such as Mozart that are more approachable for beginners. Efforts to popularize opera to wider audiences such as Daejeon Opera Company’s performance of The Magic Flute should be lauded and accepted with joy. After all, opera is an essential part of classical music and traditional western entertainment. It would be a shame to see a once glorious form of art shimmer away to oblivion.