Opera review - The Magic Flute at the Royal Opera House
As the crowds returned to the Royal Opera House, Shivam Pathak joined them to share a night of Magic.
Christina Gansch (L) and Daniel Behle (R) as Pamina and Tamino in The Magic Flute | Bill Cooper, Royal Opera House
If there was one thing that post-lockdown performance art needed the most, it was energy.
Anticipation swept the concourses and the bars as the crowds seeped into the Covent Garden venue – ready to be entertained by an opera that is widely considered to be one of the finest ever. Their expectations were satisfied.
“The Magic Flute” – referred to by the venue signage as its original title ‘Die Zauberflöte’, has now been performed for a good part of over two centuries. A Royal Opera House favourite, with recent productions in 2019, 2017 and 2015, this was the 10th iteration of Sir David McVicar’s staging. As director, he was joined by two other creatives whose title includes the word “Revival” in the credits – Daniel Doomer and Angelo Simmo, who have both worked on “The Magic Flute” before.
The result was two and a half hours of vibrant, colourful and eccentric fun. It is by no means an easy feat to reinject new life and creativity into such a classic piece of work, but the challenge was met. With a cast consisting of in-house talent programme graduates and European veterans, there was a sense of unity on stage that developed an immediate and warm rapport with those in the Opera House. Dancing animals and intricate puppets flounced around the stage from the start, removing any expectation that this was a conservative production of Mozart’s seminal theatrical work.
The stage, designed by John Macfarlane, was complete with moving walls, illuminated doors and even a suspension wire to allow a chariot to fly across, carrying the Three Boys – who, in excellent German for their age, play a ‘guardian angel’ role, advising the main characters on their next moves. There was space a-plenty for a wide chorus, who changed costumes constantly to match the dazzling lighting by Paule Constable; the aesthetics captivated the audience all the way through.
The first part of the plot is simple in essence: Tamino (Daniel Behle), a young handsome prince, goes out to pursue Pamina (Christina Gansch), with whom he falls in love from a picture, with an omnipotent woodwind instrument gifted to him to help him on his way. Pamina is reputedly held captive by Sarastro and Monostatos, played by James Platt and Peter Hoare respectively. They were comfortable in second-language singing, the latter embracing his almost pantomime-like “bad guy” role to the punters.
Peter Kellner (L) as Papageno | Bill Cooper, Royal Opera House
It gets a bit more complex after the interval – his trials to have the right to be with her are laced with themes of enlightenment, religion and masonic imagery. As natives of Germany and Austria respectively, there was to be no question of the language delivery from the leading pair, the tenor Behle leading the way in forming a comfortable on-stage chemistry.
He is accompanied on his quest by the happy-go-lucky Papageno, who yearns too for companionship. Although not the main character per se, Peter Kellner’s portrayal of the character won the audience’s attention. Happy to throw himself (literally) around the stage, at one point hitting a wall, Kellner’s physical comedy brought the chortles. His nod to social distancing, combined with a brief smirk at the audience in Act II, brought the loudest laugh of the night.
The Slovak bass did not allow his voice to be upstaged by his humour, nevertheless. He demonstrated range in his vocals as his character showed the emotional vulnerability in a soliloquy-like solo, before a rip-roaring duet with his audacious counterpart Papagena, played by the talented young British soprano Alexandra Lowe (complete with a legion of kids surrounding them).
Hartmurt Haenchen was the first to receive the raptures of applause, as he took to his podium. At 78 years of age, the German conductor continues to operate his orchestra with such contagious enthusiasm. During the show, he had no interest in thrusting himself into the limelight. The ferocity with which he led the overture, however, drummed up the excitement before the black curtain was even lifted.
The orchestra was soon to be outshone by the Queen of the Night (Aleksandra Olczyk). The soprano’s imperious delivery of the famous aria ‘Der Hölle Rache’ reverberated around the auditorium. Though her glittery navy blue dress reflected light all over the stage, her performance stamped down authoritative menace.
There are two casts alternating during the show’s run in Covent Garden – the other including the equally experienced Bernard Richter and Huw Montague Rendall. Some very friendly competition involved, perhaps, but above all a testament to the depth of talent available to the UK’s premier opera venue. Regardless of whoever’s on the cast list the night (or afternoon) one sees the production, entertainment is surely at the top of the bill.
The Magic Flute runs until Thursday, October 7 at the Royal Opera House
★★★★☆