The Magic Flute may be the most difficult of Mozart’s comic operas to present adequately. The plot is absurd and the complex hints at a parody of masonic ritual make it more difficult, but David McVicar’s version is hugely enjoyable and great fun. The music, of course, is wonderful, the cast this time is deliciously put together to make it better than ever.
American soprano Kathryn Lewek belts out the Queen of the Night’s magnificent arias superbly, even adding to the impression by lingering on the top notes. Samoan tenor Amitai Pati brings a tender and expressive voice to the part of Tamino, as he sets about the task of rescuing Pamina, who is played with equal sensitivity by English soprano Lucy Crowe. The real star of the evening, however, was British baritone Huw Montague Rendall in the role of the cowardly bird-catcher Papageno. Combining a glorious voice with exquisite comic timing and surprising athleticism, he lifted the quality of the performance even higher and ensured that everyone, both onstage and in the audience, had a thoroughly enjoyable time.
The tone of this production is marvellously set from the very start when we see Tamino pursued by some sort of giant serpent operated by a team of very skilful puppeteers. Soon after, we see Papageno chasing a bird whose antics are again due to great puppetry which turns the bird into a real scene-stealer. The serpent and the bird set the mood and the inherent humour never relaxes. With the young French conductor Marie Jacquot setting a fierce pace, the Orchestra of the Royal Opera House ensure that Mozart’s great music shines through it all.
Some of the smaller roles also deserve praise: German tenor Gerhard Siegel was excellent as the repulsive Monostatos and Armenian soprano Marianna Hovanisyan was delightful as Papageno’s love interest Papagena, playing the role as alluringly as I have ever seen it done. The three ladies serving the Queen of the Night were also the best I have seen with Hannah Edmunds, Ellen Pearson and Emma Carrington combining well to form a splendidly effective trio.
The misogynistic themes of The Magic Flute may offend several aspects of political correctness, but when it is done with such innocence and joy as this, its inherent humour and charm conquer all.
- The Magic Flute will be performed at the Royal Opera House on various dates until November 3. Box Office and details via rbo.org.uk or 020 7304 4000