THE MAGIC FLUTE

Wilton’s Music Hall

★★★★

“It is an ensemble piece, and the voices are all as fantastic as the libretto is fantastical”

When February draws to a close and we’ve just about had enough of the relentless drops in temperature and dark nights, we inevitably start dreaming of escaping to more tropical climates. The Creole-tinged doorway with its carved panels set in the crumbling façade of Wilton’s Music Hall currently provides such a gateway. For beyond the worn stone and peeled paint, we find ourselves wandering into the heart of the jungle. Simon Bejer’s lush, evergreen set (adapted for this revival by Lucy Fowler) draws us right into the centre of Charles Court Opera’s reinterpretation of Mozart’s “The Magic Flute”. At first, we don’t notice the figure entwined in a coil of vines centre stage, until the piano shifts from the minor to the major chords and the three attendants of the Queen of the Night swoon over the handsome figure that is Tamino (Martins Smaukstelis), a rather posh explorer lost in the wilderness and confusion.

There is plenty of opportunity for the audience to become lost as we try to follow the fantastical narrative, but the clear-cut performances offer a solid guide through the overgrown and illogical plot twists. John Savournin’s direction lets the dialogue and libretto cut through, highlighting the comedy of the piece. And although we might sometimes miss the heightened dynamics of a full orchestra, David Eaton’s solo piano accompaniment generously supports the fine voices on stage. There is a simplicity to the staging that is camouflaged by clever use of puppetry and masks, and with Ben Pickersgill’s atmospheric lighting this is a lush visual production.

Smaukstelis, as Tamino, is a little boy lost. A little bit posh, and a lot out of his depth. But never fear, Matthew Kellett’s sprightly Papageno pitches up, full of Cockney swagger and a zest for claiming undue credit for rescuing the hapless Tamino. It isn’t long before they are both entangled in the adventure – Papageno looking for love and Tamino having it inexplicably thrust upon him in the form of Pamina (Alison Langer), held captive by the imposing Sarastro. Langer’s Pamina is vulnerable and wide-eyed with an even wider Soprano range that is invariably moving. Peter Lidbetter’s Mohican-headed Sarastro complements her with rich base tones, while the full company fill all the spaces in between. It is an ensemble piece, and the voices are all as fantastic as the libretto is fantastical.

If the story comes across a touch confounding and convoluted, the characterisation shines bright. Eleri Gwilym’s Queen of the Night is part Amazonian warrior and part Voodoo priestess. Joe Ashmore, as Sarastro’s ill-fated, hard-done-by Monostatos, is a bit of a lecherous cad, yet his tongue-in-cheek portrayal is somehow endearing. When Sarah Prestwidge’s Papagena makes a late appearance to steal her male namesake’s heart, the puppetry and costume take centre stage, and the magic of Mozart’s opera are more than glimpsed at. It is a small and pared down production, but its inventiveness enchants us. John Savournin’s and David Eaton’s modern English version harks back to the traditionalism of its message but feels bang up to date. The crux of the story seems to focus on the advantages and merits of wisdom. Of patience and knowing when to keep quiet instead of repeating unqualified false truths. And above all of learning not to take everything you hear at face value.

It’s a jungle out there indeed. But every now and then it’s possible to escape for a couple of hours and get lost in escapism and entertainment. Charles Court Opera know how to deliver, and with “The Magic Flute” they have once again conjured magic.

THE MAGIC FLUTE

Wilton’s Music Hall

Reviewed on 26th February 2025

by Jonathan Evans

Photography by Bill Knight

Previously reviewed at this venue:

POTTED PANTO | ★★★★★ | December 2024

THE PIRATES OF PENZANCE | ★★★★ | October 2024

THE GIANT KILLERS | ★★★★ | June 2024

A MIDSUMMER NIGHT’S DREAM | ★★★★★ | April 2024

POTTED PANTO | ★★★★★ | December 2023

FEAST | ★★★½ | September 2023

I WISH MY LIFE WERE LIKE A MUSICAL | ★★★★★ | August 2023

EXPRESS G&S | ★★★★ | August 2023

THE MIKADO | ★★★★ | June 2023

RUDDIGORE | ★★★ | March 2023

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

THE MAGIC FLUTE

Wilton’s Music Hall

★★★★

“It is an ensemble piece, and the voices are all as fantastic as the libretto is fantastical”

THE MAGIC FLUTE

Wilton’s Music Hall

Reviewed on 26th February 2025

by Jonathan Evans

Photography by Bill Knight

Previously reviewed at this venue:

The Magic Flute

The Magic Flute

The Magic Flute

Cockpit Theatre

Reviewed – 5th June 2021

★★★

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

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

L’Egisto

Cockpit Theatre until 13th June

Shows reviewed by Dominica this year: