The Magic Flute

Published Friday 3 June 2005 at 10:35 by Jon Holliday

Julian Crouch’s box set of nine doors, against an ever-changing sky, imposes commendable unity on Dominic Cooke’s imaginative and most accessible production. The pantomimic aspect is not awkwardly self-conscious, nor is the music hall technique of connecting with the audience, while the continual opening and shutting of doors introduces an element of French farce.

In this first new production of The Magic Flute by WNO in 26 years, the atmosphere, while paying due attention to the solemn themes of honesty, duty, courage and love, is lightened warmly by its Magritte-inspired appearance. The costume designs by Kevin Pollard provide constant delight and there are excellent visual jokes, including an attack by a vicious giant lobster, three boys on aerial bicycles and some quite delightful animals. Sarastro’s priests, gaily suited, bowler-hatted, umbrella-sporting - an all-Orange Order literally - are a joy, poking their heads through trapdoors in the floor whenever cabinet opinions are required.

As Papageno, Teddy Tahu Rhodes is outstanding, an exotic and loony cowardy custard, a comic portrayal to savour. Peter Wedd and Rebecca Evans combine stylishly as Tamino and Pamina, though at times overshadowed by the visual effects. As the Queen of the Night, Katarzyna Dondalska finds it hard to make the necessary impact, while Brindley Sherratt in satisfying voice shows assured authority as Sarastro.

Jean-Yves Ossonce conducts a finely balanced account of this sublime score, filling the huge Donald Gordon auditorium, answering those who feared loss of intimacy. This English version by Jeremy Sams works well in the dialogue, though too much of the lyrics, especially with the female singers, is lost - which of course does not happen when the company’s admirable surtitle service enlightens foreign language operas.