THE MAGIC FLUTE

Arcola Theatre

★★½

“While a strong cast and some inventive touches shine through, it currently lacks the cohesion and polish to fully take flight”

Mozart’s final opera, ‘The Magic Flute’, receives a spirited staging from Ensemble OrQuesta for Grimeborn Opera Festival. While the production showcases strong performances and imaginative intent, its ambition to reimagine the work for the 21st century doesn’t quite come together.

Transported through his radio into a magical world of music, Tamino is charged with rescuing Pamina, the Queen of the Night’s daughter. But all is not as it seems, and his quest becomes a test of courage, self-control and perseverance.

Mozart’s glorious score and Emanuel Schikaneder’s German libretto receive a contemporary refresh from director and conductor Marcio da Silva. The spoken dialogue is loosely rewritten in English, making the ‘Singspiel’ more accessible and humorous – though some gags, particularly recurring references to the “ladies”, miss the mark. The pared back Hastings Philharmonic Orchestra features strings, woodwind and piano – though seems to lack the advertised period instruments. The orchestra is larger than one might expect for the Arcola, yet the sound never quite fills the space, perhaps due to its placement behind a bank of seats. Even so, da Silva draws out considerable energy and precision: tempos are brisk, attacks are crisp, and the musicians demonstrate ample flair and technicality.

da Silva’s direction embraces the opera’s inherent absurdity with a welcome emphasis on humour. Yet the production feels a little under-rehearsed, with singers frequently lagging the orchestra’s brisk tempi, and the run time overshooting by 30 minutes. While the comedy usually lands, other choices are less successful – Papagena’s elderly voice is rather pantomime, and Papageno’s whistle, initially amusing, becomes a little wearing. The physical theatre also needs work. Despite a reputation for inventive movement, the staging feels surprisingly static – especially Tamino’s climactic trials. Involving a dedicated fight director could add more impact and make some moments feel safer.

The cast is strong. John Twitchen brings a bright, confident tenor and convincing presence to Tamino, while Helen May’s assured Pamina moves seamlessly between tenderness, defiance and despair, culminating in a deeply affecting “Ach, ich fühl’s”. Flávio Lauria’s Papageno is a likeable comic foil, brimming with irrepressible energy, and Vedat Dalgiran lends Sarastro a sonorous gravitas. Rosemary Carlton-Willis, Jordan Gascoigne and Juliet Telford blend beautifully as the Three Ladies, demonstrating impressive unity. Juliet Petrus steals the show as the Queen of the Night, pairing regal menace with agile coloratura in an accomplished “Der Hölle Rache kocht in meinem Herzen”. The Three Boys are enchantingly puppeteered and sung by Alfie Alun Hughes, Antônio Ulucan da Silva, Artur Rebelo, Christopher Madden, Florence Milton and Lara Ulucan da Silva, bringing a welcome sense of wonder whenever they appear.

The design offers flashes of imagination but lacks cohesion. The programme cites ‘Labyrinth’ as a key influence, reflected in the 80s-inspired (if slightly ill fitting) costumes, dreamlike framing and use of puppetry. However other elements feel less considered, such as the dominating yin-yang symbol which never comes into its own, and the lack of unified aesthetic in the chorus costumes. The lighting feels more functional than fantastical, relying on colourful washes to establish mood. The production’s most successful design element is the Three Boys – directed by Orlando Bishop, the puppets are charmingly manipulated, providing some of the evening’s most memorable moments.

Ensemble OrQuesta approaches ‘The Magic Flute’ with imagination and an admirable desire to broaden opera’s appeal. While a strong cast and some inventive touches shine through, it currently lacks the cohesion and polish to fully take flight.

THE MAGIC FLUTE

Arcola Theatre

Reviewed on 25th August 2026

by Hannah Bothelton

Photography by Julian Guidera

THE MAGIC FLUTE

★★★

“a treat to see emerging young opera stars tackle less well known works”

L’Egisto, billed as a showcase for advancing young singers by the Hampstead Garden Opera, does just that in this new version of the 1643 opera at the Cockpit Theatre. Francesco Cavalli, the composer of L’Egisto (with libretto by Giovanni Faustini), was a pupil of Monteverdi, and enjoyed great success in his own time. Despite languishing forgotten until his rediscovery in the 1970s, Cavalli is now gaining popularity once again. It’s easy to see why. The opera provides lots of opportunities for the stars to show their singing abilities, and there’s even enough drama to keep the characters interesting. Some of the tropes may seem outlandish to modern eyes (Egisto’s mad scene for example) and it’s difficult to sympathize with the gods’ petty meddling in the lives of the unfortunate lovers. But there is a freshness and charm to the unfolding of events, plus some wonderful comic roles for minor characters. This opera is a perfect choice of vehicle for young singers in that regard.

The Hampstead Garden Opera’s production of L’Egisto is easy on the ears, with a talented orchestra and some outstanding voices, but fails, however, to impress the eyes to the same degree. Some choices were forced upon the company, since we are still emerging from the pandemic. Nevertheless, staging L’Egisto with an audience carefully socially distanced on three sides shouldn’t have had problematic sight lines that could have easily been eliminated if the stage had been less cluttered. With performing space at a premium in the Cockpit, it was difficult to see how the addition of shiny disks and gauzy drapes could add much, other than to distract the audience from the performers, and the performers from focusing on each other. The production itself was long; the pace appropriately measured. This production of L’Egisto would have benefitted from more economy of staging, and perhaps more attention to the performers’ costumes which seemed at variance with the opera’s setting and themes.

Setting aside, this is an ambitious production that has two casts alternating with each other for each performance. This is a great idea given the length of each performance and the fact that the company is performing twice daily. In the matinee I attended, I saw Kieran White (tenor) take on the role of Egisto with believable passion and musical dexterity, and he was well matched with his Clori (Shafali Jalota, soprano). The baroque orchestra, under the direction of Marcio da Silva, was a pleasure to listen to. They were also well placed at the back of the performing space, so that the audience could see as well as hear them.

If you are curious about baroque opera, and have yet to make Cavalli’s acquaintance, I encourage you to see this production. It’s also a treat to see emerging young opera stars tackle less well known works like L’Egisto.

Reviewed by Dominica Plummer

Photography by Laurent Compagnon

Tag Archives: Anna-Luise Wagner

THE MAGIC FLUTE

★★½

Arcola Theatre

THE MAGIC FLUTE

Arcola Theatre

★★½

“While a strong cast and some inventive touches shine through, it currently lacks the cohesion and polish to fully take flight”