Of the three productions from Opera North currently visiting The Lowry, Mozart’s The Magic Flute is probably closest to what an average person would perceive as ‘opera’, featuring vocal pyrotechnics and a plot involving heroes on a quest. This is ironic as, with lengthy spoken sequences, the show is closer to a play with music than a formal opera.
A child’s efforts to listen to her records and play with her toys are frustrated by intrusions from drunks at a nearby party and her parents having an almighty argument. She retreats into her imagination observing Tamino (Egor Zhuravskii) as he is compelled, with aid from the reluctant but boastful Papageno (Emyr Wyn Jones), to rescue the daughter of the Queen of the Night, who has been kidnapped by a cult under the control of the charismatic Sarastro (Msimelelo Mbali). However, as is often the case, things are more complex than they first appear.
The Magic Flute is a tribute to the power of imagination and art to inspire and heal. The hero, Tamino, carries a musical instrument rather than a weapon, and the child in the framing sequence copes with a traumatic experience by retreating into fantasy. In Opera North’s version of the story, the sidekick Papageno, rather than Tamino, is the hero of the tale. Tamino drinks the Kool-Aid and embraces the rituals of the cult in order to secure his bride. Papageno refuses to comply and, by telling his story to a group of children rather than as an isolated solo, becomes an unlikely inspiration to rebellion.
Possibly, more by accident than design (the role of Tamino was originally written for an actor with a limited vocal range), there is a strong social class-consciousness in the opera. Tamino can be perceived as the ‘everyman’ as his songs are simple plainsong / folk. Papageno is even more appreciative of his place on the social ladder knowing he is used as point man because he is considered expendable. As the social class of the characters goes up the scale, their vocal expertise becomes more complex. There is a spiritual, hymn-like quality to the deep vocals of cult leader Msimelelo Mbali. The vocals from Anna Dennis as the Queen of the Night in act two are close to supernatural, leaping up and down the higher registers in an indomitable display of prowess.
Director James Brining takes an irreverent approach to the story. The Three Ladies (Charlie Drummond, Kathryn Sharpe and Hazel Croft) who serve the Queen of the Night are dressed as battle-weary nurses complete with blood-stained aprons. Yet they are far from remote, having more than a little interest in flirting with Tamino. Egor Zhuravskii suggests Tamino grows into the role of hero, moving from a baffled and panicky comic approach to a nobler stance.
The set and costumes designed by Colin Richmond are austere and chilly: all sharp edges and an obsessive approach to cleanliness. As the cult uniforms are of a Pantone red shade, it is hard not to think of the TV version of The Handmaid’s Tale, it is possible to work out the different ranks of the cult members depending on the slight changes to the garments—long- or short-sleeve shirts. The visual impact of the Opera North chorus dressed in such a homogeneous manner is deeply oppressive and intimidating.
The Magic Flute draws the short visit by Opera North to The Lowry to a close in fine style, giving audiences the chance to see a full-blown opera in all its fiery grandeur.