The plot of the Mozart’s most popular opera The Magic Flute is nuts; prince gets attacked by snake, three ladies rescue prince, prince meets birdcatcher, Queen meets prince, prince gets flute, birdcatcher gets bells, rescues princess, prince meets princess, they and birdcatcher meets King and, well you get the drift… So that’s the plot (well, the first act anyway) the rest is as bonkers as it sounds, however, it’s the singing that makes this such a stunning opera.
The Magic Flute is one of the greatest operas ever written. This is a wonderfully theatrical and imaginative staging from complicit artistic director Simon McBurney where live sound effects and animations help bring this captivating tale to life.
Directory McBurney has kept all the fun of this revival of the 2013 Production, and it’s almost exactly the same, the inventiveness, the engagement and the thrill of the simplest ideas are enthralling. With a few deft cuts and a slight refocus this was a fun, funny and magical evening out and the ENO have certainly polished this production up to be a winner.
Flocks of birds made from sheets of paper are far more captivating than they sound and the sharing of the staging through side stages of sound effects and projections were equaly fun, although I suspected they may have been mimed and not live. Nevertheless, they were funny and getting a laugh from a post-modern tilt of the wig at a hashtag or a clown horn is no mean feat. The opening credits and little extras from the musicians all add their little bits of entertainment and there’s a lot going on, but it felt focused and attached on to the action and never detracts from the narrative.
The Magic flute is all about the voices and the music, and tonight we saw one of the best Pamina’s in a long time from Lucy Crowe. She was perfect and of a seriously high standard. Dressed all in white she thrilled us with the purity of her voice. The others were excellent but rather a bit of shade was thrown by Crowes perfection; I was utterly entranced by her voice. Allan Clayton’s Tamino is believable and besotted and they entwine voices well. Peter Coleman-Wright’s rather older than I would prefer a Papageno to be but is fine, and he gets plenty of laughter for his tongue in cheek shambling, simplicity seeking persona. Canadian Ambur Braid debut performance was great, whirling around in her wheelchair like a demented Joan Crawford from Baby Jane her voice howled and lashed, slammed with threat and frustration, full pure and whiplashing up into the higher notes, I suspect she went home very pleased I certainly did as her “Der Hölle Rache” was fabulous . This broken, abandoned bitter Queen of the Night is an interesting utterly unglamorous interpretation and although a little unconvincing at the very end as everyone is reconciled , her power and anger certainly came across with conviction. James Creswell’s Sarastro is hard cold steel, radiating power he is the new world order and has no sympathy in his voice, just logic and righteousness and I enjoyed every moment of him being on stage. The three women got some rolling laughter and the three ancient/children were ethereal with their voices clean, pure and perfect. The chorus are just stunning, how in the world can the ENO even think about diminishing this glorious chorus, a force of majesty on stage.
The busy, constantly changing staging from Michael Levine is excellent, light and darkness used to great effect from lighting designer Jean Kalman, based around projections and a large articulated square on the stage, suspended with chains and shifted with lifts, tilts and falls to suggest journey, cave or citadel. There are some very clever transformations and the trials of Pamina and Tamino are some thrilling theatrical moments. There were audible sighs of delight as they floated off into the deluge. Complicite’s actors are in and out the action like shadowy black mice, adding their tiny touches of mystic delight to thicken the theatrical elements of this opera and keeping the imaginative magic very fresh.
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Mark Wigglesworth as conductor was an utter delight, he pulls and throws the music around the auditorium with all the playfulness and artfulness that it demands, with the orchestra raised up over the pit and part of the action, and with some of the players taking part in the staging this was a near perfect rendition of this deceptively simple music. Wigglesworth manages to tease out the sophisticated undertones of Mozart’s themes and keeps the music simple, to the point and clearly driving the momentum all evening. Stephen Jeffrey’s deft and funny translation of the libretto is the final refined and light touch which all combine to make this a superb night out.
With most football tickets now costing more than a night out at the opera the ENO is certainly doing something right with performances like this, the house was full, engaged and loved it. The enthusiastic cheering and applause went on for some time and people were electrified with chatter on their way out.
What a wonderful evening out, well worth the trip up to town and the perfect opera to introduce yourself or some other newbie to, go and treat yourself. .
English National Opera
St Martins Lane
London
Until March 14, 2016
For more info or to book tickets click here:
Running time: 2hrs 55mins
Language: Sung in English, with surtitles projected above the stage
Tickets: Available from £12. There are now at least 500 tickets at every performance at £20 or under. Find the right offer for you
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