Magic Flute Needs Polishing

Mozart’s Magic Flute has returned to Opera North’s schedule. It’s the same production as last year but with a few new cast members, and so we decided to take a fresh look.

The Magic Flute has a bit of everything: there’s some serious opera, some singspiel, some burlesque and all sorts of weird spirituality. It’s hard to pin down. But let’s give it a go: the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity by the high priest Sarastro. But instead of completing this task, he discovers the high ideals of Sarastro and his followers community and seeks to join it. Separately, then together, Tamino and Pamina undergo some bizarre trials of initiation, which end in triumph, with the Queen of the Night and her cohorts vanquished. The unsophisticated Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena.

Welsh Baritone Emyr Wyn Jones makes a welcome return as the central character and aspiring comedy role of Papageno, the bird catcher. Perhaps ironically, Papageno’s main problem in life is that he wants for a wife more than anything, and Wyn Jones’ natural comic timing and beautiful voice is delightfully deployed to bring his charm and quirkiness to life. His Act One duet with Pamina defines the simple-hearted goodness of Papageno – and of Mozart’s music.

Soprano Soraya Mafi as Pamina, the daughter of the Queen of the Night, was a revelation. Despite hailing from Bury and attending the Royal Northern College of Music - so, a local lass then - I’d never heard her before. She has a lovely clean soprano voice with seemingly effortless high notes. Her performance lifted the production for me and complemented the comedy of Papagano to a tee.

Nazan Fikret had the unenviable task of performing the famous Queen of the Night aria. With lyrics such as "Der Hölle Rache kocht in meinem Herzen" ("Hell's vengeance boils in my heart”), it is a magnificently feisty piece, and one such to test the mettle of anybody who attempts it. I’m happy to say that Nazan Fikret passed this test with flying colours. Her upper-register staccatos were just beautiful.

Welshman Trystan Llŷr Griffiths gave sterling service as Prince Tamino, with his rich tenor tones used effectively to declare his undying love for Pamina, despite only having seen her in a portrait.

This remains a beautiful production, but there were a few technical problems on the opening night and an overall feeling of being slightly unpolished - and I’m not convinced by the abrupt ending, which was more of a stop than a resolution. But this lack of patina will no doubt disappear after a little light rubbing from the director and then Opera North’s Flute will be restored to its full magic brilliance.

The Magic Flute continues at Leeds Grand Theatre, Newcastle Theatre Royal, Lowry, Salford Quays, Theatre Royal, Nottingham, Hull New Theatre.

The production runs for approximately 2 hours 45 minutes including one interval.

Sung in English with English subtitles.

More details can be found here.