Easily the most bizarre, barking mad opera Mozart ever wrote, straddling the border between fantasy and farce, opera directors aplenty over the years have delighted in interpreting the text and music of The Magic Flute. Leeds Playhouse Director James Brining very much plays into the wacky, chaotic, and positively nutty nature of this late Mozartean masterpiece. The story is fraught with unusual plot points, from the giant serpent ravaging our main protagonist Tamino, subsequently being slain by three ladies almost reminiscent of the Greek sisters of fate, to the creation of the perfect bride for half-bird, half-man hybrid character Papageno.
Unlike other operas, Magic Flute adopts the form of a Singspiel, which uses spoken dialogue at intervals, so feels more like a halfway house between an opera and an operetta. The narrative is also hugely atypical, almost nonsensical, especially for the time and compared with Mozart’s prior operatic works. However that certainly does not mean it’s a bad piece of work, far from it in fact. Though the use of an English language libretto is far more accessible for a British audience, one does feel like it loses a degree of poetry and flow we got from Schikaneder’s original German text. That aside, Jeremy Sams’ translation still manages to retain and reflect the charm and quirkiness of the plot, and musically it works well.
Performances all round, safe for the occasional lack of rhythmic sharpness, are excellent. Opera North's chorus are truly world class, and the orchestra are as tight as ever. Emyr Wyn Jones as Papageno was wonderfully funny, giving us some excellent comic acting and timing, and a delightful degree of slapstick, putting his own stamp on the character magnificently. Msimelelo Mbali as dictator Sarastro displays his gorgeous, rich bass-baritone vocals, and a dominant command of the stage. Additionally, Anna Dennis as the opposing Queen of the Night was truly resplendent, dazzling with her vocal and musical dexterity, as well as her impressive upper coloratura range, most notably in the renowned second act aria that bears the character’s name.
The set and costumes design are both impressive and it's evident that Colin Richmond has clearly had a great time designing these, especially in Papageno’s eclectic range of attire. The design of the serpent from the opening scene is delightful, camp but imposing, and hugely effective.
It is a testament to Mozart’s composition, musicality and quality of operatic storytelling that even after almost 250 years, his music is still some of the most beloved, popular in the world. On the back of this fun, weird and wonderful production, this is a show that won’t be letting up any time soon.
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography provided by the Theatre
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