GUEST REVIEWER AND OPERABUFF DEAN THOMPSON LOVES ENO’S LATEST
Ingenious – Dazzling – Hilarious!
If you haven’t seen The Magic Flute before, then this is the one to see; if you have seen it a hundred times before, then you should still go and see it as this is such an ingenious production, it is like seeing a new opera. It is a brilliantly funny, thought provoking interpretation using projection, live sound effects and orchestra participation in the action in Simon McBurney’s fabulous production under the direction of Revival Director Rachael Hewer. It is performed by an all-star cast of home grown and international talent. The elegant translation of Schikaneder’s libretto is by Stephen Jeffreys.
The story begins as handsome and single Prince Tamino finds himself in a strange land being pursued by a deadly serpent. Along stumbles bird catcher Papageno, who unable to save him stands by whilst the job is done by The Three Ladies, servants of The Queen of the Night, whom you might say has a few anger issues, justifiable some might say. As soon as Tamino awakes from his trauma, the ladies show him a picture of the Queen’s daughter Pamina, with whom he instantly falls hopelessly in love.
The music is precisely and beautifully conducted by German-born conductor Erina Yashima with the orchestra elevated to stage level which for me creates a friendly rapport, almost like being in the pub with them as they oblige fellow patrons with a tune. To the left and right of the stage are two curious boxes which look almost as though they could be furnished with the contents of a man cave. However, it soon becomes clear that these are all part of the ingenuity of the production. On the left, video artist Ben Thompson’s box of tricks, with which he supports the narrative and gets laugh after laugh with projected text, sketches on a chalk tablet and images using various objects onto the stage. On the right, Foley artist Ruth Sullivan creates live sound effects, performed with a cheeky smile as she interacts with the singers. She even bashes out the introduction to Papageno’s Act II aria on wine bottles!
American tenor Norman Reinhardt as the almost too good to be true prince next door, captures everyone’s heart with his suave and unassuming demeanour as Prince Tamino and his gloriously heroic high notes and beautiful phrasing.
American soprano Rainelle Krause majestically delivers the Queen of the Night’s dazzling arias, mesmerising Tamino in the first act and terrifying her daughter in the second with her murderous rage, sending her on an errand to kill her adopted dad! Krause’s performance is stunning, singing both arias with her powerful trademark laser precision, colouring her top notes with a beautifully rounded and perfectly controlled vibrato.
Pathos, joy and hope in the form of Pamina, the Queen’s daughter, is sung with serene beauty and gracefully acted by British soprano Sarah Tynan.
Peter Hoare sings brilliantly as Monostatos, declaring his unwanted love for Pamina giving everyone a laugh with his comic dance routine to Papageno’s magical bells.
Beware ladies, of the outrageously flirtatious and somewhat desperate singleton bird catcher, Papageno, performed by British baritone David Stout who sings and acts hilariously with his stupendous rolling tones. In Act II his desperation to find a wife leads him into the auditorium and shy he is not in his absolute determination. He flirts with, by the look on her face (projected onto the stage) an unsuspecting lady, and then writes his mobile number on the projected chalkboard. I wonder how their first date will go? Well, Papageno’s impromptu flirtation does not put off his equally eager future bride, Papagena, Australian soprano Alexandra Oomens, who sings beautifully and acts (in the auditorium of course – where else?) with a crafty comic sparkle in her eye.
The whole show is grounded by the heavenly voice of Canadian bass John Relyea as the steady and wise Sarastro.
Box office www.eno.org to 30th March
Tickets from £10 (under 21s go free – see website for details)
Rating 5
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