The Magic Flute

Music by Mozart

Original Libretto by Emanuel Schikaneder

English spoken dialogue by Michael Gow

State Opera South Australia in collaboration with Opera Hong Kong, Beijing Music Festival and the Chinese National Opera House

Her Majesty’s Theatre 

August 28 -September 6

Photos: Andrew Beveridge

This performance of The Magic Flute is the product of collaboration between South Australia, Hong Kong and China, proving that music brings harmony, not conflict, between different cultures. It also serves to demonstrate the depth of musical talent to be found in Australia.  On both counts it was a success..

Mozart’s Magic Flute is a love story, a trial by ordeal, a tribute to Free Masonry and an entertaining folk tale, none of which asks for close scrutiny. There is, however, no ambiguity about Mozart’s music which is sublime. To find out what happens you need to see the opera.

What of the singers? The Three Ladies Helena Dix, Catriona Barr and Fiona McCardle, fussing and needling each other, sing like angels. 

Tamino  (Nicholas Jones) is the straight guy, handsome, chivalrous, earnest, who is saved from being at all priggish by his singing and acting which is engaging, and at times heroic. Papageno, (David Greco) almost steals the show in his reluctance to place himself  in danger, trial or no trial, but again is true to Mozart’s music.  The Queen of the Night, Danielle Bavli, vocally soars above the clouds in her two arias, fierce and frightening. Sarastro has to look commanding, yet kindly and sing well below the stave fearlessly, all of which Teddy Tahu Rhodes achieves with ease. 

The role of Pamino was sung, not by Sofia Troncoso, who was indisposed, but Stacey Alleaume, who flew in the night before, brushed up her German, and then, in a mini kilt and leather jacket, took on the role as though she had been rehearsing for weeks. Top marks to her and to the others in the cast who supported her. Jessica Dean, as Papagena sparkled, danced and sang brilliantly. Mention must be given to Mark Oates as Monostatos, and Pelham Andrews as the Speaker, who, together with the chorus were excellent. Nor should we neglect the orchestra under the baton of Dane Lam.

While set in the hustle and bustle of a railway network, with a station that could double as a Masonic Temple at one point, the story seemed to reflect everyday life. The chorus was dressed in  working clothes. Saratsro, instead of being in priestly robes was clothed like the ring master of a circus, complete with a very tall hat. But there were moments which reflected a deeper message. The three children, (Philip Cheng, Ethan Zhang and Celine Yuan)  followed the cycle of life. They first appeared as babies in a triplet pram, morphing, through various changes, into three old men, one with a walking stick. A figure depicting Mozart, albeit clutching a guitar, oversaw it all.

Together with masonic symbols there was, at times, a backdrop imaging heroic mountain peaks, as the lighting  moved from shadow to brightness and as the dark clouds moved across; subtle touches that  contributed to the overall effect

This production of The Magic Flute would be just the thing to convert those who think opera is an elitist and snobbish sport, along with croquet and polo. It would also be a very apt introduction for those who had never seen an opera. It is very satisfactory to see that the integrity of the music need not be sacrificed to an unconventional stage set or colloquial dialogue, but may be, in fact enhanced.