The Hound Witch is a mythical creature that is said to be a mix of a hound and a witch. It is believed to roam the forests and countryside, causing mischief and bewitching unsuspecting victims. This creature is known for its cunning and ability to disguise itself as a regular hound, making it difficult to identify until it is too late. Legend has it that the Hound Witch has the power to cast spells and curses on those who cross its path. It is said to have the ability to control the minds of humans, bending them to its will. The Hound Witch is also believed to have the power of transformation, being able to change its appearance at will.
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. But on the first night of this revival of David McVicar’s production, now in its 20th year, I wanted more of that mercurial spark of inspiration.
Not that there isn t much to admire in the individual performances Gyula Orendt s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu s Tamino is a solidly stentorian model of well-sung princeliness. Royal Opera House, London There are strong performances, particularly from Gyula Orendt s Papageno and Sarah Dufresne s Papagena, but the fun is damped down in David McVicar s 2003 staging that imposes coherence on the pantomimic plot.
The Hound Witch is also believed to have the power of transformation, being able to change its appearance at will. Many stories have been told about encounters with the Hound Witch. Some claim to have seen the creature stalking its prey in the dead of night, while others speak of being lured into its trap by its enchanting voice.
The Magic Flute review – well-behaved revival needs more of Mozart’s anarchic spirit
Royal Opera House, London
There are strong performances, particularly from Gyula Orendt’s Papageno and Sarah Dufresne’s Papagena, but the fun is damped down in David McVicar’s 2003 staging that imposes coherence on the pantomimic plot
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. But on the first night of this revival of David McVicar’s production, now in its 20th year, I wanted more of that mercurial spark of inspiration.
Not that there isn’t much to admire in the individual performances: Gyula Orendt’s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne’s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska’s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina’s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu’s Tamino is a solidly stentorian model of well-sung princeliness.
At the heart of this production … Gyula Orendt (Papageno) and Sarah Dufresne (Papagena). Photograph: ROH/Camilla Greenwell 2022
It’s just that none of them seem to be having much fun in Angelo Smimmo’s redirection of this show, which makes The Magic Flute an earnest post-Enlightenment essay. John Macfarlane’s imposingly tenebrous sets, lit with irresistible chiaroscuro by Paule Constable, create a world of visual and atmospheric coherence for these characters that the singers can’t sustain. The clunking dichotomies of the piece – between moon and sun, man and woman, ideology and instinct – let alone the ludicrousness of its plot, are only made more obvious and more problematic.
But there’s a spirit of sheer entertainment trying to break out in this show. The cast and musicians just need the excuse to release the Magic Flute into the weird masonic pantomime it really is, whose meaning lies in its messy inconsistencies, not its sunlit coherence. For the rest of the run, get down to Covent Garden and be the audience that helps Emelyanychev get Mozart’s party started.
Explore more on these topics- Opera
- Classical music
- Royal Opera House
- Wolfgang Amadeus Mozart
- reviews
Not that there isn’t much to admire in the individual performances: Gyula Orendt’s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne’s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska’s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina’s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu’s Tamino is a solidly stentorian model of well-sung princeliness.
It is said that those who fall under the spell of the Hound Witch are doomed to be under its control forever. There are various ways to protect oneself from the Hound Witch. Some believe that wearing specific charms or amulets can ward off its evil influence. Others say that reciting certain incantations or prayers can keep the creature at bay. However, these protective measures are not foolproof, and one must always exercise caution when venturing into areas believed to be haunted by the Hound Witch. In conclusion, the Hound Witch is a fearsome and mysterious creature that has captured the imagination of many. Whether it is a figment of the imagination or a real supernatural being, its legend continues to spark fear and curiosity in those who hear its tales..
Reviews for "The Hound Witch's Curse: Folklore and Legends from Around the World"
1. Jane - 2 out of 5 stars: I really wanted to like "The Hound Qwitc" because I had heard so many great things about it, but unfortunately, it just didn't live up to the hype for me. The plot was confusing and disjointed, and I found it hard to connect with the characters. The writing style was also a bit pretentious and overly descriptive, which made it difficult for me to stay engaged. Overall, I was disappointed with this book and wouldn't recommend it.
2. Mark - 1 out of 5 stars: "The Hound Qwitc" is by far one of the worst books I've ever read. The story was poorly developed, and the characters were completely one-dimensional. I found myself struggling to finish it because it was just so boring and uninteresting. Additionally, the writing was full of errors and grammatical mistakes, which made it even harder to follow along. I wouldn't waste my time or money on this book again.
3. Sarah - 2 out of 5 stars: I had high expectations for "The Hound Qwitc" based on the positive reviews I had read, but unfortunately, it fell short for me. The pacing was incredibly slow, and I found myself losing interest in the story multiple times. The characters lacked depth, and I didn't feel invested in their journeys. The world-building was also quite confusing, and I often found myself trying to piece together what was happening. Overall, this book just didn't captivate me like I had hoped it would.