Image: The Magical Flute. Photograph by (c) Christopher Hayles. Supplied.
The Magic Flute is an operatic quest for wisdom and truth, and is a tribute to the power of love. It’s also steeped in ancient mysteries; the lore of Freemasonry and the lure of the arcane. Mozart himself was a Mason, a member of Vienna’s Lodge of Benevolence.
Unfortunately, this production has been stripped of its mystery and esoterica in favour of an ockerised Raiders of the Lost Ark interpretation. The original singspiel work is reduced to a mere comic romp, losing the rich qualities that make it such a powerful work. Where is the Sturm und Drang? There is barely a mention of magic, mystery, or things Masonic. Inspector Morse would not be amused.
This is a revival of Opera Australia’s 2014 production and criticisms of the interpretation aside, the students of the Opera School did a creditable job with some fine voices and excellent singing. The singing is in German and the dialogue in English (or Australian, to be precise!). English surtitles are projected on a screen, but it was so neck-achingly high above the stage as to be an uncomfortable distraction. It was impossible to see the words and the action at the same time.
All the principals on opening night were exceptionally good and showed great operatic promise. Joshua Oxley is a powerful Tamino, striding confidently across the stage and singing with a rich, warm voice. Tristan Entwhistle gave a good comic touch to Papageno and was very engaging. Sitong Liu, Viktoria Bolonina, and Jia Yao Sun were delightful as the Night Queen’s Three Ladies. The evil Queen was played superbly by the delightfully-named Esther Song who shimmered her way through the magnificent arias in effortless style. The remaining cast members and chorus were all worthy performers and Josi Ann Ellem was a dream as Papagena. I’m not sure why she had yellow fluffy wings but she looked gorgeous and sings with a delightfully fresh voice. The cast showed good vocal diversity and stylistic range.
The student musicians of the Con Orchestra handled the score with ease under the leadership of Music Director Stephen Mould. The overture was especially satisfying and the orchestral architecture was clearly defined. The orchestra was seated in the pit, but still visible to the audience, so a little more attention to professional presentation would not go astray.
Many of the elements of this production were excellent and the students (and their teachers) are to be congratulated. The singing was of an extremely high standard throughout. The stagecraft did feel a little awkward in places, especially in some of the more comedic moments, but that is just a matter of more performance experience. This is where Viktoria Bolinina especially shined. Although not playing a major role, Bolinina looked the most comfortable of all the performers on stage.
The Magic Flute premiered on 30 September 1791. Despite a luke-warm response on opening night, it sustained a first run of one hundred performances. Mozart never knew of its great success or enduring appeal because he passed into the world of the spirits just ten weeks later.
This production may be more panto than serious opera, but it is a perfect opportunity to see the opera stars of the future on stage. Go and give them a hearty round of applause!
Rating: 3 1/2 stars out of 5
The Magic Flute plays at the Sydney Conservatorium’s Music Workshop until Saturday October 21
Composer: Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder
Original Production for Opera Australia: Michael Gow
Designer: Robert Kemp
Director: Roger Press
Music Director: Stephen Mould
Lighting Designer: Peter Rubie
