‘Director Ruth Knight’s revival. . . is empathetic and energetic. . . with an impressive. . . debut from conductor Marie Jacquot’
First performed in 2003, Director Ruth Knight’s revival of David McVicar’s enchanting production is empathetic and energetic with a cast able to do justice to Mozart’s Singspiel combined with an impressive Royal Opera House debut from conductor Marie Jacquot.
Tamino (Amitai Pati), a young prince, is being pursued by a terrible dragon and in his attempt to escape he passes out and is unknowingly saved by three mysterious Ladies (Hannah Edmunds; Ellen Pearson; Emma Carrington). As they depart to alert the Queen of the Night (Kathryn Lewek) to his presence, Tamino regains consciousness only to meet another strange figure, that of Papageno (Huw Montague Rendall), the bird catcher, who also works for the Queen, and deceitfully claims to have defeated the monster. He is punished when the three Ladies return by having his tongue sealed with a magic spell. Tamino is presented with a portrait of Pamina (Lucy Crowe), the Queen of the Night’s daughter, who has been abducted. Tamino instantly falls in love and agrees to rescue her and is presented with a magic flute whilst his unwilling companion Papageno is given a music box, as they are assured their safekeeping will be overlooked by three Spirits.
Pamina is trying to escape from Sarastro (Soloman Howard), aided by three priests (Harry Nicoll; Wyn Pencarreg; Nigel Cliffe), and whose guards (Stuart Jackson; Graeme Broadbent) have secured her in his temple although the man tasked with guarding her, Monostatos (Gerhard Siegel), is becoming increasingly infatuated with her. The rescue mission doesn’t go completely to plan and Tamino and Papageno are captured and forced to face three trials set out by the Speaker of the Temple (Matthew Rose). Will they survive? Can Tamino and Pamina hope to find true love? And will Papagena (Marianna Hovanisyan)) prove to be the perfect love match for the ever-bizarre Papageno? All we know is that joy and harmony come from listening to wisdom (Remi Bianchi; Georgiana Bamford; Phoenix Matthews)– but will they listen?
John Macfarlane’s staging is atmospheric and otherworldly, but with perhaps too much of a nod to less is more, the little set that there is was moved seamlessly between scenes to maintain the overall flow. In contrast the costumes were visually impressive, utilising a strong colour palette to distinguish friend from foe and capture the spirit and tone of the Enlightenment and wouldn’t look out of place in an episode of Doctor Who. The oscillating mood and themes are topped off by Paulo Constable’s strong lighting design that embraced and reflected the many visual metaphors on display.
The chorus were strong and impressive throughout with the supporting cast of actors and children to embellish the themes particularly well choreographed with Angelo Smimmo’s revival of Leah Hausman’s original movement direction, notably in the closing scenes of flames and water, and with good use of puppetry which made me want the opening scene with the serpent to go on that little bit longer.
There is a delicate balance necessary with this opera and Knight has got it spot on capturing the pantomime fun and physical comedy alongside the brooding danger that nestles on the right side of danger, and it is further reflected through cast performances, and for an opera that resonates around the number three, our Ladies, Priests, and Wisdoms all performed strongly and with touches of humour.
Crowe is very much a bright young thing and her vivaciousness pervades, which in turn allows Pati to step up from his earnest innocence and they combine warmly in an enjoyable performance.
Siegel was an excellent villain whilst Howard’s command of his register reinforced his easy authority. Lewek was equally commanding delivering her most famous aria with aplomb.
I often struggle with interpretations of Papageno so it was a joy to see Rendall’s consummate performance and whose singing captured the sulks and the humour so effortlessly with great comic timing. Jette Parker Artist Hovanisyan only appears briefly but certainly left an impression visually and vocally.
But Mozart is nothing without the music and Jacquot was majestic from the off as she delightfully led the Orchestra of the Royal Opera House from an impressive overture, imbuing layers of warmth and refined flourishes with both subtlety and grandeur to magically bring the stage to life.
Review Date: 21st April 2026
Star Rating: FOUR