A guild of witches is commonly referred to as a coven. A coven typically consists of a group of witches who come together to practice and perform rituals, as well as share knowledge and support each other. The term "coven" originated from the Latin word "convenire," which means to come together. In a coven, there is usually a leader called a High Priestess or High Priest, who guides the group in rituals and teachings. The members of a coven may gather for various purposes, such as celebrating the cycles of the moon, performing spells and divination, or to commemorate important occasions like Sabbats and Esbats. Traditionally, a coven consists of thirteen members, though this number may vary.
In the temple halls, Alfred Reiter makes a stiff but commanding Sarastro. His voice wobbles a bit in the middle, but he has a nice droning sound on his bottom notes. Finally, Greg Fedderly’s performance as Monostatos suggests he has a promising future not only in character tenor operatic roles, but also in intentionally hilariously terrible ballet.
Julie Adams took over the role of the First Lady, but she and her fellow Ladies Nian Wang and Zanda Svede were so dramatically and musically together that the substitution would have been undetectable without an announcement. Finally, Greg Fedderly s performance as Monostatos suggests he has a promising future not only in character tenor operatic roles, but also in intentionally hilariously terrible ballet.
Traditionally, a coven consists of thirteen members, though this number may vary. Witches may join a coven for the sense of community and camaraderie it provides, as well as for the opportunity to learn from experienced practitioners. Coven members often form close bonds and work together as a team to harness their collective energies and achieve their magical goals.
A colorful but static Magic Flute in San Francisco
Jun Kaneko’s Magic Flute at San Francisco Opera doesn’t lack aesthetic appeal. Bright crayon drawings and rectangles creep across the backdrop and legs. The Queen of the Night’s initial appearance is complemented by a children’s art class version of colorful fireworks. These playful projections serve as a wonderfully varied backdrop, though sometimes the animation can draw focus away from the singers. The animals of this Magic Flute are in the same fantastical style – improbable spotted ellipsoids with brightly striped stockings. The miniature Papagenos and Papagenas are especially adorable; Kaneko should consider selling souvenir stuffed animals.
There’s an opportunity missed in this multimedia production: The projections reflect the overall sentiment of each scene or piece, but they are not timed to coordinate with the music on a chord-by-chord level. The occasional simultaneous chord and explosion of color would have been funny and tied more aspects of the staging together. Harry Silverstein’s direction also doesn’t have the characters onstage responding directly to the music. In fact, they do a lot of standing in one place and singing, which can make this show feel slow and static. They don’t have much to work with; the downside of a mostly digital production is the near-total lack of sets or props. Even the strongest actors, like Efrain Solis as Papageno, struggle to keep our attention during long arias on a flat, bare stage.
Two singers were ill for Tuesday’s performance, but that didn’t prevent the cast from being stellar. Kathryn Bowden stepped in as Queen of the Night, a role she played with regal bearing and spot-on coloratura fireworks. Her weaker tone in her lower and middle range showed during ‘O zittre nicht’, but her stratospheric top notes were precise and intense. Julie Adams took over the role of the First Lady, but she and her fellow Ladies (Nian Wang and Zanda Svede) were so dramatically and musically together that the substitution would have been undetectable without an announcement. The three have distinctive personalities and voices that combined well, and they consistently amused with their extravagant antics.
Sarah Shafer and Paul Appleby sung the young lovers Pamina and Tamino with beauty and conviction. Shafer’s voice has an airy tone that can at times seem unfocused, but it actually suits the ingénue character quite well. The sweetness of her voice is balanced by her enthusiasm and charisma; she may be innocent and pretty, but she’s no helpless damsel! Appleby has a flexible Mozart tenor full of expression. He never quite found Tamino’s heroic bearing, though, vocally or dramatically. Of course, he still seemed positively princely in comparison to Efraín Solís’s ridiculous Papageno. Solis stumbled around the stage, singing with a solid and sensitive baritone and delivering awkward lines without ever breaking character.
In the temple halls, Alfred Reiter makes a stiff but commanding Sarastro. His voice wobbles a bit in the middle, but he has a nice droning sound on his bottom notes. Finally, Greg Fedderly’s performance as Monostatos suggests he has a promising future not only in character tenor operatic roles, but also in intentionally hilariously terrible ballet.
Lawrence Foster makes a great San Francisco Opera debut conducting the orchestra. Occasional minor coordination slip-ups notwithstanding, the music always sounds full and never overwhelms the singers. A light touch and huge dynamic contrasts, especially during the overture, match the visual playfulness of the production. The flutes and strings sound especially smooth and lovely throughout. The chorus also sings well, with a pleasant, multi-textured but well-blended sound, particularly during ‘O Isis und Osiris’.
San Francisco Opera made the odd decision to present this Singspiel in English, in a translation by the company’s General Director David Gockley. As singing translations go, it’s competent, with good attention paid to maintaining vowel sounds and rhyme schemes. However, it’s uneven. The funnier arias go over quite well, with quick delivery and clever rhymes. Some of the more serious numbers fall flat; ‘Dies Bildnis’ sounds absurd in modern and unassuming English vernacular. The translation attempts to be slangy and casual, especially during the dialogue, which can be humorous but can also be cringe-inducing, especially given the actors’ stilted and unconversational delivery. It is also disappointing that Gockley didn’t use his translation to call out, eliminate, or undermine the opera’s inherent racism and misogyny. If he was liberal enough with his source material to joke about drag queens, surely he could have found an alternative to ‘Moor’ to describe Monostatos.
It’s wonderful to see a Magic Flute this imaginative and this well-sung. It falls short of the ideal in a few ways – an uneven translation, an unwillingness to address the piece’s problems, and a shortage of dramatic stage action – but it’s still sure to provoke smiles.
Two singers were ill for Tuesday’s performance, but that didn’t prevent the cast from being stellar. Kathryn Bowden stepped in as Queen of the Night, a role she played with regal bearing and spot-on coloratura fireworks. Her weaker tone in her lower and middle range showed during ‘O zittre nicht’, but her stratospheric top notes were precise and intense. Julie Adams took over the role of the First Lady, but she and her fellow Ladies (Nian Wang and Zanda Svede) were so dramatically and musically together that the substitution would have been undetectable without an announcement. The three have distinctive personalities and voices that combined well, and they consistently amused with their extravagant antics.
While the term "coven" is most commonly associated with witches, there are also covens in other practices and religions, such as Wicca and other pagan traditions. These covens operate on similar principles of unity and spiritual growth. In some cases, witches may choose to practice solitary, meaning they do not belong to a coven. Solitary witches work alone and create their own rituals and practices, drawing from their personal beliefs and experiences. Solitary practice allows for greater freedom but may lack the support and shared knowledge found in a coven. Overall, a coven serves as a community of witches who gather to practice their craft, share wisdom, and support each other in their spiritual journeys. Whether practicing in a coven or as a solitary witch, both paths offer unique opportunities for personal growth and magic..
Reviews for "Witch Guilds and the Occult: Unraveling the Mysteries"
1. Sarah - 2 stars - I found "What is a guild of witches called" to be a rather disappointing read. The book lacked depth and failed to captivate me. The characters felt one-dimensional, and the plotline was predictable. The writing style was also quite weak, lacking the descriptive elements and strong world-building that I look for in fantasy novels. Overall, I felt like I wasted my time reading this book.
2. David - 1 star - "What is a guild of witches called" was a complete letdown. The story had potential, but the execution fell flat. The pacing was off, and I found myself losing interest very quickly. The dialogue felt forced and unnatural, making it difficult to connect with the characters. Furthermore, the world-building was underdeveloped, leaving me confused about the rules and dynamics of the magical society the author created. I would not recommend this book to anyone looking for a well-crafted fantasy novel.
3. Michelle - 2 stars - I was really looking forward to "What is a guild of witches called", but unfortunately, it fell short of my expectations. The plot felt disjointed and rushed, with many loose ends left unresolved. The characters were forgettable and lacked depth, making it hard for me to invest in their journey. The writing style also felt amateurish, with awkward sentence structures and repetitive language. Overall, I was left feeling unsatisfied and would not recommend this book to others.