Opera review: The Magic Flute at the English National Opera

5 / 5 stars
The Magic Flute at the English National Opera

Turning late 18th-century humour into 21st-century humour is always a challenge. The nature of humour and what is permissible has moved on over the centuries and what the audiences found funny and acceptable in 1791, when Mozart wrote The Magic Flute may not work today.

Tamino (Rupert Charlesworth) receives protection of magic flute

Tamino (Rupert Charlesworth) receives the protection of magic flute (Image: Donald Cooper)

Rarely has that challenge been taken up with such verve and accomplished with such success as Simon McBurney does in his production of this opera for the ENO.

When I first saw this six years ago, I was enthralled and enraptured. McBurney had turned a great Mozart opera into something even greater.

In general, I disapprove of over-zealous direction putting too much of themselves into established works, but the all-consuming way in which McBurney overturned old traditions seemed brilliantly appropriate and miraculously loyal to the original work and utterly modern at the same time.

Small tweaks to the production have made it better with every revival and the current version is the best and funniest yet.

Papageno (Thomas Oliemans)

Papageno (Thomas Oliemans) looks suitably surprised to find himself among the orchestra members (Image: Donald Cooper)

The first change from traditional practice you notice even before the opera starts is that the orchestra has been dug out of its pit and lifted to a level alongside the stage. Besides raising the status of the music, it gives the opportunity of some delightful participation between singers of instrumentalists.

When Tamino plays the magical flute of the title, a flautist stands up or even makes her way only the stage to produce a true duet between singer and instrument.

When Papageno saves himself with his magic bells, he forms a strong relationship with the celeste player who tinkles the tune on his small keyboard – except when Papageno has to play it himself because the musician has wandered off for a coffee.

Never has the relationship between opera singers and orchestra members been so intimate or so amusing.

Another surprise is the inclusion, on the extreme edges of the stage of props to produce effects in vision and sound.

The first is a board on which messages may be written on with chalk which are projected onto the stage.

This gives a splendidly low-tech feel, which often turns into high-tech as the two-dimensional projected images are superseded by three-dimensional visual effects or parts of the action. It is all surprising and rather beautiful.

Tamino and Pamina

Tamino and Pamina (Charlesworth and Lucy Crowe) set off on Sarastro's tests (Image: Donald Cooper)

I could go on praising the production, but the cast played an equally impressive part, joyously entering into the spirit of McBurney's vision with total commitment.

The young English tenor Rupert Charlesworth played the part of the hero Tamino in a strong and purposeful manner, ignoring the mayhem going on around him, while the bass Brindley Sherratt was even more authoritative as Sarastro in coping with the villainy of the Queen of the Night.

Julia Bauer in that role was not as strong and domineering as some I have heard, but she hit the high notes of the Queen's notoriously demanding arias with impressive accuracy and voice control.

Thomas Oliemans took a little time to get to grips with the insane and cowardly character of the birdcatcher Papagano, but once into his stride was gloriously funny.

His relationship with the celeste player and his desperate attempt to gain the affection of the lady doing the sound effects were the comic highlights of the evening.

From a purely operatic point of view, however, the real star was soprano Lucy Crowe who gave as perfect a performance as the heroine Pamina as I have seen.

All in all, a fabulous evening's entertainment, greatly enjoyed by all the audience.

My ultimate test of any Mozart comic opera is to ask myself whether Mozart would have enjoyed it.

In this case, I feel sure he would have laughed himself silly and cheered as loudly as anyone.

• Box Office: 020 7845 9300 (or www.eno.org) until April 11.

Would you like to receive news notifications from Daily Express?