We review the standout revival of Mozart’s “The Magic Flute” by the English National Opera, at the London Coliseum just a day or two ago, and ask – why can’t all operas be as fun as this?
And the answer is – probably because the classic view of “opera” by so many, is that if the music isn’t sad, and if the heroine doesn’t actually die – well, it can’t be an opera, can it?
This revival, the third time by Simon McBurney at the ENO, and now revived by Rachel Hewer, is laugh out loud funny, and everything the uninitiated should want an opera to be, a flow of beautiful melodies, astonishing subtlety that squeezes out every nuance of humour. The nearest equivalent I can compare to, is probably the “Mama Mia” musical – the difference simply being that whereas Benny and Bjorn are still cashing in their royalties to this day – alas poor Mozart met his Waterloo when only 35 years old, in 1791.
It is also quite unlikely that this Opera would ever have seen the light of day, looking at earlier reviews of years before. Back in 1968, Natalia Macfarren, who did the translation from German for the Novello company, reported others saying that this opera “contained not a single dramatic point capable of being worked into a musical design”. I know that because I have her musical score and comments in front of me. I bought it for the sum of twelve shillings when I was a kid.
And absurd, the story absolutely is. People don’t get hunted by serpents. You don’t fall in love instantly on a whim.
Or maybe you do. There are enough online super hero games for Gen Z where just about anything can happen.
In short, The Magic Flute has become has become by chance, the opera for our time. And ENO drives this absurdity to its limits. It is modern, and very precise.
For once, the fabulous orchestra just gets on with it – under the precise direction of Erin Yashima, who is making her debut here, it is brisk, non-stop, it carries the audience along. The close harmonies of the groups of singers, are just fantastic, the protagonists seem so comfortable in their various roles. The synergy and fluidity between orchestra and on-stage performers, and even with the audience , was integral.
The difference, and what makes this performance and production so memorable, is its uniqueness; the very clever live animation – the pictures of Pamina and indeed members of the audience as they are accosted by Papageno in their seats! – that suddenly appear on screens made out of pieces of A4 paper held by the singers – the slapstick interplay of Papgeno again, with celeste player Murray Hipkin, who gets up out of the orchestra pit to voice his frustration!.
True, I was disappointed by the “hanging scene” with Papageno in Act 2 – I half expected someone in the audience to shout out “don’t do it!” – but the opportunity passed.
For me, my magic moment was flautist Clare Wickes emerging from the orchestra to hand Papageno her flute. She became the standout performer leading with her melodic impact., with others taking their leads from her.
ENO is totally at home with Mozart – it remains unique in looking at the silliness of each of its Mozart stories, and where there is no built-in drama – well, ENO just gets on and creates it’s own.
There is a welcome and increasing involvement of Harewood artists, – Alexandra Oomens is one to watch for the future.
The lady sitting behind me, is laughing almost continually. The two young girls just one row in front, are smiling, and on their feet applauding. The young man sitting next to me – it is his first time at an ENO production – looks perplexed.
“It is always like this? – he enquires.
“The Magic Flute” can be seen at ENO (www.eno.org) until 30th March 2024.
