Conductor:Andrew Legge
Director:Matthew Barclay based on the original production by Julie Taymor. Set Design: George Tsypin. Costume Design: Julie
Taymor. Lighting Design: Gary Marder based on the original design by Donald Holder.
The
costume, make-up and scenery design are exceptional. Conductor, Anthony Legge,
insures that the music is beautifully realised by the Australian Opera and
Ballet Orchestra and the singing this time around is first rate.
Photos by Lisa Tomasetti
 |
| Andrew Jones as Papageno |
Choreography: Matthew Barclay based on the original choreography by Mark Dendy
Opera Australia – Sydney
Opera House until 26 March 2014
Performance on 4th February 2014 reviewed by Bill Stephens
Both
use puppetry to great affect, but while the storytelling in the former is
crystal clear, that in “The Magic Flute” is more problematical.
On
first viewing of this production in 2012, the impression was that something had
been lost in translation; that the original director’s vision had been clouded;
and many of the puppets were being waved about by the cast with little
understanding as to why. Papageno’s strong ocker accent jarred, and some of the
singing was below par.
On
revisiting the production this year, the staging has tightened, the singing has
certainly improved noticeably, the puppetry is more focussed, but Papageno’s
Australian accent still jars.
 |
| Andrew Jones as Papageno with Opera Australia dancers. |
Despite
the program notes being at pains to align Mozart’s intentions with English pantomime,
the interpolation of the Australian ocker accent is stylistically at odds with
the rest of the production, even if it did get laughs at this performance.
These lines usually get laughs even when done without an ocker accent. And the
audience is still left wondering why, if it is the music from the magic flute
which protects Tamino and Pamina during the final fire and water trial, Tamino is
not actually playing the flute instead of waving it around.
Quibbles
aside, this production still has many captivating elements which make it essential viewing for those who love this
work, or have yet to experience a production of it.
 |
| John Longmuir as Tamino and Taryn Fiebig as Pamina |
John
Longmuir is a handsome, believable Tamino, and Taryn Fiebig is superb as
Pamina. Her singing of the lovely Act 11 aria expressing her grief that Tamino
no longer loves her is heart-breakingly beautiful.
 |
| Milica Illic as the Queen of the Night |
As
the fearsome Queen of the Night, Milica Illic glitters impressively both
vocally and in appearance, Richard Anderson’s secure basso voice and stately
bearing are used to great effect as Sarastro, and Kanen Breen, as a wonderfully
loathsome Monostatos, adds another
remarkable characterisation to his already impressive repertoire. Despite his
questionable accent, Andrew Jones certainly brings a fine voice and engaging personality
to the role of Papageno.
Given that it was originally conceived for young people, this re-production by Opera Australia seems undecided as to whether it's aimed at children or adults, as a result it is one to be enjoyed more for the music and the spectacle rather than intellectual stimulus, but even on that criteria it's really rather marvellous.
 |
| Kanen Breen as Monostato together with Jane Ede, Sian Pendry,Dominica Mathews as the three ladies. |
Given that it was originally conceived for young people, this re-production by Opera Australia seems undecided as to whether it's aimed at children or adults, as a result it is one to be enjoyed more for the music and the spectacle rather than intellectual stimulus, but even on that criteria it's really rather marvellous.
Photos by Lisa Tomasetti
