Reviews
The New York Times
August 11, 2003, p. E3
A 'Magic Flute' on the Stage With Invisible Instruments in the Orchestra
By Jeremy Eichler
The big question of course is how it sounded, and to these ears the answer is, better than expected.[...] Mr. Smith and his partners have achieved some impressive results. The most noteworthy aspect of the system is the way that the programmed elements of pitch and rhythm can be substantially manipulated in live performance to accommodate the demands of phrasing and rubato. The orchestra, in other words, appeared to follow Mr. Meetze's lead quite aptly.[...] this technology has ample benefits for singers and audiences [...] the RealTime accompaniment was unobtrusive enough to let one focus on the singing and still enjoy a night at the opera.
On Saturday the cast offered much to enjoy. The leads were generally solid, but two singers stood out: Janinah Burnett, with her lushly rendered Pamina, and Kenneth Overton, with a drolly acted and finely sung Papageno. The production by Enrique Abdala was entertainingly if nonsensically futuristic, complete with androids and laser guns.