If Disney and Mozart made a baby, you’d get Opera Australia’s The Magic Flute. Bursting with whimsical visual charm and lively characters, this production, directed by Kate Gaul, brings Mozart’s classic to life in a fresh, contemporary way that enchants audiences of all ages.
From start to finish, The Magic Flute delights with its playful yet refined approach, making it a truly magical experience that feels timeless and unmistakably modern.
The most notable aspect of this production is its accessible English language translation, which stays true to Australian English and embraces the natural accents and mannerisms of the cast. This choice lends the opera a relaxed and local flavour, allowing the audience to connect with the characters more personally.
Papageno, in particular, is a highlight in this respect. Andrew Moran’s portrayal infuses the role with quintessential Australian humour, slang and body language, making his performance both hilarious and endearing. His comedic timing is impeccable, blending the classical aspects of Mozart’s work with the light-heartedness of the modern Australian vernacular. Moran’s Papageno is a true standout, demonstrating how a character initially created centuries ago can feel fresh and relatable today.
The adaptation also modernises The Magic Flute in a welcoming way for all ages. The content remains fanciful and playful, ideally suited for young viewers and first-time opera-goers. In addition to the lively main cast, children perform as spirits, adding a sense of wonder and innocence to the stage. Their performances are charming and essential to the storyline, helping to propel the action forward with their natural talent and stage presence. Including children in key roles reinforces the production’s accessibility and makes it feel like a family-friendly experience.
Richard Roberts’ set and staging are visually simple – rich in colour without being overwhelming. Anna Cordingley’s costume design allows for a chorus visually distinct from the lead characters. The chorus members’ costumes and make-up, which contrasted with the bold looks of the leads.
Principal characters are marked by striking blue eye make-up and distinctive costumes, setting them apart and adding a fantasy touch to the visual experience. The blue and pastel palettes evoke a dreamlike quality reminiscent of The Wizard of Oz. It is a visual feast, transporting the audience into a magical world of vibrant colours and playful design elements.
Surtitles above the stage are a vital element of this production’s accessibility. Even though the opera is performed in English, the surtitles ensure that every word is clear, especially for those who may have struggled to catch the lyrics through the music. This thoughtful addition underscores Opera Australia’s commitment to making The Magic Flute accessible to everyone, from opera aficionados to newcomers.
Movement and musicality are other highlights, with each character embodying traits through physicality that enhance their personalities. The Three Ladies, loyal servants to the Queen of the Night, move with a supernatural elegance. At the same time, Pamina, the princess, is delicate and graceful.
Esther Song offers a stirring rendition of the iconic aria ‘Der Hölle Rache kocht in meinem Herzen’ (‘Hell’s vengeance boils in my heart’), often known as ‘Der Hölle Rache’. This aria, sung by the Queen of the Night in the second act, is one of the most famous pieces in the opera canon and a defining moment in The Magic Flute. The aria is a musical embodiment of vengeful fury, as the Queen of the Night, a coloratura soprano part, reaches the height of her rage, instructing her daughter Pamina to assassinate her rival Sarastro. In this fit of anger, she places a knife in Pamina’s hand and threatens to disown and curse her should she refuse.
‘Der Hölle Rache’ is a demanding piece known for its fast-paced, upper-register staccatos and menacing grandeur. It challenges the soprano with rapid, high notes and a sense of relentless intensity that can mesmerise the audience. Song performs this powerful aria that also considers the opera’s more light-hearted, camp tone. She captures the staccato precision and upper-register agility while also embodying the Queen’s anger. The aria demands vocal skill and a commanding stage presence and Song delivers on both fronts.
In terms of visual creativity, the production explores masks and shadow puppetry, all of which bring an element of fantasy to the show and add a layer of visual whimsy, making The Magic Flute a spectacle for the eyes, but also add depth to the storytelling.
Ultimately, Opera Australia’s The Magic Flute is a joy to experience. Its approachable, humorous take on a classic opera, combined with fantastic musical and visual elements, make it an ideal introduction to opera for children and those unfamiliar with the genre. The production embraces the whimsical aspects of the story while maintaining a high level of artistry, ensuring that it also appeals to seasoned opera-goers.
Read: Exhibition review: Chihuly in the Botanic Garden, Adelaide Botanic Garden
It is an excellent gateway into opera and a memorable and fun experience that will leave audiences smiling long after the final curtain.
The Magic Flute, Wolfgang Amadeus Mozart
Geelong Arts Centre
Conductor: Paul Fitzsimon
Director: Kate Gaul
Associate Director: Lindy Hume
Assistant Director: Rebecca Moret
Set Designer: Michael Yeargan
Costume Designer: Anna Cordingley
Lighting Designer: Verity Hampson
Set Design Consultant: Richard Roberts
Movement Director: Andy Dexterity
English translation: Kate Gaul and Michael Gow
Cast: Celeste Lazarenko, Shanul Sharma, Anrew Moran, Esther Song, David Parkin, Jane Ede, Sian Sharp, Ruth Strutt, Jennifer Black, Benjamin Rasheed, Dean Bassett, Gregory Brown, Nathan Lay, Harrison Coppock, Sophia Cowall, Flora Feldman, Charlton Keogh, Hugh Ling, Piper Nuredini
Orchestra Victoria
Opera Australia Chorus
The Magic Flute will be performed until 16 November 2024.
