THE MAGIC FLUTE
Birmingham Hippodrome, Wednesday 3rd May 2023
Welsh National Opera is back in town with a brand new production of one of Mozart’s greatest works. The text, translated into English by Daisy Evans (who also directs) gives the Emanuel Schikaneder libretto a complete overhaul, removing the more direct Masonic aspects and the more problematic elements of the story to give us a fresh interpretation that works – for the most part. Gone are the prayers to Isis and Osiris, replacing them with Sun and Sky. This is a world where two realms exist, Night and Day, and never the twain shall meet. Trouble is, the ruler of the Day realm, Sarastro, has abducted his daughter from the realm of the Night. Naturally, the Queen of the Night is peeved. She recruits valiant Prince Tamino to go and rescue the princess. Evans establishes a new twist: Tamino and Pamina were childhood friends, rather than having him fall in love at first sight when he sees her portrait, which undermines his wonderful aria a bit, I find. Other changes include redeploying the lecherous Monostatos as a teacher and diminishing his villainy: his worst crime is being boring!
The staging involves illuminated orbs and glowsticks to suggest a video game environment, along with multi-level pieces of set to place us in a platform game. The eponymous flute is wielded like a sword or lightsabre. Even the giant snake at the beginning is reduced to a nightmare (Tamino wrestling with a snake in bed is a bit Freudian!) Once I cotton on to this theme, I see that the ideas don’t go far enough. More could be made of the video game idea: ‘life’ monitors could show us Tamino and Pamina’s ups and downs. Graphics could be projected as Tamino completes each trial and levels up… It could have been a lot more fun.
Thando Mjandana makes a bold and passionate Tamino, with an urgency to his singing. Julia Sitkovetsky hits all the high notes as a stand-out Queen of the Night, although she could do with a tall crown or headdress to denote her status – on her first entrance she blends in with the Three Ladies (Nazan Fikret, Kezia Bienek, and Claire Barnett-Jones, who are all excellent and funny). Neal Davies does his best with the sometimes laboured comedy of birdcatcher Papageno – his duet with Jenny Stafford’s Papagena is a charming delight, as it should be. Jonathan Lemalu brings gravitas to Sarastro (even in that wig!) although I find of all the main singers, he is the quietest. April Koyejo-Audiger is perfect as warrior princess Pamina, delivering a heart-breaking aria when she believes Tamino is blanking her.
The day/night theme emphasises a binary world. It takes the younger generation to demonstrate that there are other ways to live: dawn and twilight for example, where the binary elements blend…a message I endorse.
As always, the WNO Chorus is sublime, doing justice to Mozart’s beautiful hymns at the Day palace, and the orchestra under the more-than-capable baton of Frederick Brown serve up the sumptuous score, reminding us why this work endures over the centuries.
A patchy production then, but ultimately enjoyable and a feast for the ears. The same attention needs to be given to the cast’s delivery of dialogue and recitative to match the energy given to the splendid singing.
☆ ☆ ☆ ☆
Serving queen: Julia Sitkovetsky ruling the night. Photo: Craig Fuller