The Magic Flute, an enchanting opera composed by Wolfgang Amadeus Mozart, is a mesmerizing spectacle that has captivated audiences for centuries. The Royal Opera House in London has presented many unforgettable performances of this beloved work, showcasing the brilliance of Mozart's music and the magical storytelling of the librettist Emanuel Schikaneder. Set in a mythical land filled with colorful characters and mystical creatures, The Magic Flute tells the tale of a prince named Tamino who embarks on a quest to rescue a princess named Pamina. Guided by a magic flute and accompanied by a comedic bird-catcher named Papageno, Tamino faces numerous trials and tribulations as he strives to bring light to the darkness and unite with his true love. The opera is renowned not only for its beautiful arias and intricate ensembles but also for its allegorical themes that explore the concepts of love, wisdom, and the triumph of good over evil. Mozart's masterful composition, with its soaring melodies and lush harmonies, brings these themes to life, evoking a range of emotions from the audience.
This opera was originally performed in 1791, which raises some issues that need to be dealt with, especially with how it describes and represents women. Women are described as only being able to fulfil her destiny with a man by her side, for example. It is tricky situation to handle and those were the moments when the temperature in the opera house seemed to drop a few degrees. But better to have it included still so that there can be meaningful discussions around it, than edited out.
They were all very good, but one in particular, a boy with glasses, absolutely stole the opera; he was so energetic and enthusiastic that everyone in the audience was enthralled and thoroughly enjoyed his performance. Maxim Emelyanychev conducting Mozart s The Magic Flute for the first time and making his debut with the Royal Opera House orchestra writes in a programme note that he wants to feed off the energy of the audience.
Mozart's masterful composition, with its soaring melodies and lush harmonies, brings these themes to life, evoking a range of emotions from the audience. At the Royal Opera House, The Magic Flute is brought to life through breathtaking stage designs, intricate costumes, and innovative lighting techniques. Each element is carefully crafted to create a visually stunning production that complements the music and enhances the storytelling.
The magic flute royal opera house
There is good reason that this production of Magic Flute has now been revived seven times. It is a fantasy masterpiece; there is no psychological overinterpretation or dabbling with anything that isn’t there. Telling the story of Tamino, who, after being saved by a giant snake agrees to help the Queen of the Night by saving her daughter Pamina from the sorcerer Sarastro, all isn’t as it seems. And in this production, the story unfolds in such an engaging, funny and beautiful way.
The sets features stunning colourful artwork and there are some brilliant puppets. When the character Papageno is introduced, singing his first aria “Der Vogelfänger bin ich ja”, he is trying to catch a bird puppet – and it’s hilariously done. Vito Priante takes on the role with great gusto and a warm voice. I’m very glad he is back at ROH after his insightful performance last season in the world premiere of the lost Donizetti opera L’ange de Nisida.
The one cast member that, for me, wasn’t at her best was Tuuli Takala as the Queen of the Night, which is a shame as her aria in Act 2, “Der Hölle Rache” is one of the most famous of all time. She was underwhelming in her first aria, to the point where the audience could hardly hear her. By Act 2 she had gathered some strength of voice, but not enough power for the coloratura required for this aria.
In this particular production, I want to make a mention of the three boys who guide Tamino and Papageno. They were all very good, but one in particular, a boy with glasses, absolutely stole the opera; he was so energetic and enthusiastic that everyone in the audience was enthralled and thoroughly enjoyed his performance. When the three of them took their curtain call, they received one of the biggest cheers of the night.
This opera was originally performed in 1791, which raises some issues that need to be dealt with, especially with how it describes and represents women. Women are described as only being able to fulfil her destiny with a man by her side, for example. It is tricky situation to handle and those were the moments when the temperature in the opera house seemed to drop a few degrees. But better to have it included still so that there can be meaningful discussions around it, than edited out.
I very rarely say this, but in this instance it’s needed. This is a near-perfect production for this opera; it is beautiful, fantastical and fits the tone exactly right. The opera is enjoyable to children, adults, everyone. I can’t think of anyone who couldn’t get enjoyment from this, whether it’s their first ever opera, or their thousandth. The cast is an absolute pleasure to watch and I’m very much looking forward to seeing what Benjamin Hulett as Tamino and Elsa Dreisig as Pamina do next in their careers. They were brilliant in this must-see event.
Words by Stuart Martin.
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The one cast member that, for me, wasn’t at her best was Tuuli Takala as the Queen of the Night, which is a shame as her aria in Act 2, “Der Hölle Rache” is one of the most famous of all time. She was underwhelming in her first aria, to the point where the audience could hardly hear her. By Act 2 she had gathered some strength of voice, but not enough power for the coloratura required for this aria.
The Royal Opera House's expert cast, including some of the finest singers and actors in the world, brings depth and nuance to their characters, immersing the audience in this fantastical world. The Magic Flute is an opera that transcends time, and its enduring popularity is a testament to its universal appeal. The Royal Opera House's production of this enchanting work is a must-see for both opera enthusiasts and newcomers alike. From the iconic overture to the triumphant finale, The Magic Flute at the Royal Opera House is a spellbinding experience that will leave audiences awe-struck and captivated long after the final note has been sung..
Reviews for "The Magic Flute: Mozart's Operatic Masterpiece Returns to the Royal Opera House"
1. John - 2/5 - I was really disappointed with "The Magic Flute" at the Royal Opera House. The production felt outdated and lacked the creativity and innovation that I expected. The sets and costumes were dull and uninspiring, and the whole performance felt like a carbon copy of countless other productions I've seen before. Additionally, I found the singing to be mediocre at best, with some of the performers struggling to hit the high notes. Overall, it was a forgettable experience and I wouldn't recommend it.
2. Emily - 1/5 - I absolutely hated "The Magic Flute" at the Royal Opera House. The entire performance felt disjointed and confusing, with a lack of any coherent narrative. The staging was cluttered and chaotic, with too many unnecessary elements that distracted from the actual singing. The vocals were also a major letdown, with many of the singers sounding strained and pitchy. I was really looking forward to this opera, but it failed to live up to my expectations in every way. Save your money and skip this one.
3. Sarah - 2/5 - "The Magic Flute" at the Royal Opera House was a disappointment for me. The production attempted to modernize the opera, but it ended up feeling forced and gimmicky. The concept and costumes were confusing and didn't add anything meaningful to the story. The singing was also inconsistent, with some performers shining while others struggled. Overall, I found the whole experience underwhelming and would advise opera lovers to choose a different production to enjoy instead.