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Chief Uncas’ Direct Descendant

Directing Glimmerglass’ ‘Flute’

This set rendering of Glimmerglass' "Magic Flute" is the vision of set designer Troy Hourie and costume designer Kaye Voyce. (Courtesy Glimmerglass Opera)
This set rendering of Glimmerglass’ “Magic Flute” is the vision of set designer Troy Hourie and costume designer Kaye Voyce. (Courtesy Glimmerglass Opera)
Madeline Sayet
Madeline Sayet

COOPERSTOWN – Last summer, Madeline Sayet visited Glimmerglass’ environs for the first time, hiking into the woods with designers Troy Hourie (sets) and Kaye Voyce (costumes).

They came upon a clearing.  “There must have been a fire,” said Sayet, who, a direct descendant of the Mohegans’ great chief Uncas, is as close to a Native American princess as anyone these days.  “All the trees were isolated and singular.  And we said:  That’s Sarastro’s work.  The trees are in the world, but they aren’t leaning on each other.”

The winter before, Sayet, a young theater director – The Glimmerglass Festival’s presentation of Mozart’s “The Magic Flute” is her first opera – was invited to Francesca Zambello’s New York City apartment and asked to direct the centerpiece of the opera company’s 40th anniversary season.

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