Conductor:
Anthony Legge
Director:
Matthew Barclay based on the original production by Julie TaymorSet Designer: George Tsypin
Costume Designer: Julie Taymor
Lighting Designer: Gary Marder
Opera
Australia
Joan
Sutherland Theatre, Sydney Opera House until 30th January 2015.
Performance
7th January 2015 reviewed by Bill Stephens.
What a
difference a cast change makes. When Opera Australia first staged this production
in 2012, it was cast with some of the company’s brightest young emerging singers.
Not all were up to the task however and at the performance I attended, much of
the singing was underwhelming, the characterisations tentative, and the staging
so insecure and imprecise that one wondered whether the company had really
achieved an accurate reproduction of Julie Taymor’s original vision, first
mounted on the Metropolitan Opera in 2004.
For her
concept, Taymor had taken the “magic” from the title literally, and although the
physical aspects of the production remain as ever - the fanciful puppets, the
brilliantly conceived colourful and intricate costumes and make-up, and the towering,
ever-evolving and revolving clear perspex setting decorated with Masonic
symbolism - these elements now appear as ground-breaking as they must have seemed
in 2004.
But watching
this particular production again three years on, this time cast with many of
the company’s most accomplished and experienced singers, who understand their
roles and know how to bring the right nuances and style to them. The
direction has been noticeably tightened and tweaked, so that the full brilliance of Taymor’s
concept is finally revealed.
Purists
might bemoan that a third of the opera has been carved away, but what remains
is a relatively faithful, light hearted and entertaining version of an opera
which can often feel dense and unfathomable.
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In this
current production the singing throughout is superb. Emma Matthews, making her
role debut as the Queen of the Night, is as breath-taking as expected,
especially during the famous second act aria, where she effortlessly negotiates
the unforgiving coloratura passages with brilliance and venom. It is a
particular treat to experience her in this role.
Equally as
thrilling, but at the other end of the vocal spectrum, is Daniel Sumegi , whose
rich, sonorous bass voice, superb diction and presence, brings considerable
dignity, warmth and gravitas to his tormented Sarastro.
John
Longmuir and Taryn Fiebig are beautifully teamed as the lovers, Tamino and
Pamina. Both are artistic singers. Longmuir’s
light honeyed tenor blends superbly with Fiebig’s flawless soprano for their
duets and each brings exactly the right degree ardour and lightness to their
characterisations.
Similarly
the three ladies played by Jane Ede, Sian Pendry and Dominica Matthews. Unrecognisable under heavy
blue make-up, their voices blend superbly, and previous co-ordination problems
with their dis-embodied heads have been solved so that they now provide the
satisfying visual and aural treat intended.
Kanen Breen
continues to be as funny and flesh-crawlingly revolting as the evil Monostatos
and the three young bearded spirits sing beautifully and provide an intriguing
element to the proceedings. However, it is Samuel Dundas, as Papageno, who goes
close to stealing the show in this revival. His singing is superb and his
confident easy swagger and ability to nail every laugh, quickly endears him to
the audience. His duet with his Papagena, Katherine Wiles, is sheer delight.
Mozart’s
superb music is in safe hands with the Australian Opera and Ballet Orchestra in
fine form under conductor, Anthony Legge, who insures that every subtle musical
nuance is faithfully observed. The excellent balance between singer and
orchestra is also notable, even when the singers were positioned in front of
orchestra on the ramp which surrounds the orchestra pit for this production.
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