The Magic Flute – REVIEW

Directed by Kate Gaul, this production of The Magic Flute emphasises the “magic” nature of the opera by presenting it as a fairytale. 

Most actors are in simple costumes of pastel colours, and all are bare-footed, walking on the soft green “grass” that covers the stage, perhaps representing bucolic pleasures?

The humour is underscored from the opening, where the three ladies (Jane Ede, Indyana Schneider and Ruth Strutt) squabble over the handsome young man who has fainted at the sight of a dragon, which is a clever projection of a cut-out on a white curtain stretched across the stage. No longer the cumbersome clunky monster of yesteryear!

The ladies lose all dignity as they tumble over one another, revealing their frilly pantaloons to be closer to their fallen idol, who is lying, to comic effect, on his stomach.

The cloth curtains and the shimmering streamers of brightly coloured paper used at various points throughout the opera clearly indicate that these are the trappings of an artificial representation of life, and therefore that this is a production that will most likely have a happy ending, with no one harmed.

Tamino is often portrayed with more gravitas than he is given in this production, and Michael Smallwood’s mellifluous tenor reflects his character’s all-too-human moods.

Soprano Stacey Alleaume’s Pamina is richly expressive and assured as the heroine.

Papageno, played by baritone Ben Mingay, looks like a tradie carrying his Esky, while his long-sought-after love Papagena, sung by Jennifer Black, is dressed to look like both a bird, as is appropriate, but also a vaudeville dancer, with feathers on her head and sticking out behind her in a great show of plumage.

The Queen of the Night, generally regarded as the wicked mother and dressed in black, was costumed in a gorgeous silver gown and with a hairstyle reminiscent of Mae West.

And by the way, coloratura Giuseppina Grech was truly magnificent in her first appearance in this role, hitting every note in the famous aria with precision and clarity. It was thrilling to listen to her.

Kanen Breen did not disappoint in his portrayal of the villain everyone loves to boo, namely Sarastro’s henchman Monostatos, and I have to ask, if Sarastro is supposed to be the embodiment of reason and light, why does he have such a ghastly hitman to do his bidding?

David Parkin’s Sarastro was deeply impressive as he delivered his lines in a fantastic costume of gold, looking a like a resurrected Tutankhamun.

The Spirits, Zev Mann, Abbey Hammond and James Valanidas, had crystal clear voices and a wonderful stage confidence for such youthful singers.

The orchestra under the baton of the Teresa Riveiro Böhm was alive to the sweetest nuances of Mozart’s score, as was the chorus.

Spoiler alert: Finally, all is resolved when the two pairs of lovers are brought together, and the expelled Monostatos joins the retinue of the Queen of the Night and hooks up with one of her ladies. The final scene resembles a picnic at the beach, with most characters lolling about on blankets or towels. This includes the Queen of the Night, and when Sarastro joins her on her rug, she leans over to kiss him, her black hat with its huge brim shielding the two reconciled parents from public gaze. 

With the heavy emphasis on Sarastro and the Masonic chords lifted in this production, the opera seemed more like Shakespeare’s Midsummer Night’s Dream than Mozart’s Don Giovanni. 

And did the audience warm to this interpretation? They sure did.

I just had one niggling little query. 

Why were all the singers given a heavy shade of blue eye shadow? Did this signify some sprinkling of magic dust or dew à la Puck in MND?

Until March 16

Joan Sutherland Theatre, Sydney Opera House, Bennelong Point

opera.org.au/