The Magic Flute, English Touring Opera, review

ETO's Magic Flute outshines its more expensive and overblown rivals, says John Allison

a scene from English Touring Opera's The Magic Flute
Obsession with lightshades: a scene from English Touring Opera's The Magic Flute Credit: Photo: Robert Workman

English Touring Opera’s strong spring season is two parts adventurous to one part conservative. Yet the dependable production of The Magic Flute that balances out the Britten and Tippett rarities – Paul Bunyan and King Priam – is anything but dull. As pretentious and ponderous stagings by bigger companies frequently remind us, Mozart’s endlessly fascinating masterpiece is far from fail-safe, and ETO’s achievement is to offer a modest, model Flute that does almost everything required.

Liam Steel’s 2009 production (revived here by James Hurley) strikes an ideal balance by being at once entertaining and enlightening, magically simple and yet deeply thought-provoking. Though its retelling of this tale of the search for truth and love is strong on narrative clarity (Jeremy Sams’s well-oiled English translation helps), in designs by Chloe Lamford the staging leaves room for theatrical fantasy – even in the most cramped venues that ETO’s long-running tour will reach.

The panelled set, all in midnight blue, is versatile and rich in possibilities. Three giant steps – more play on the number that dictates so much in this symbol-laden opera – and three oversized doors on either side place this performance in a realm all of its own, at once everywhere and nowhere. In one of several nods towards Mozart’s period, there is much trapdoor theatricality, and the small chorus is pressed into physical service, whether (at the end of the mimed overture) morphing from a conga into the serpent that threatens Tamino or manipulating the birds and animals that populate this piece. A peculiar fetish for lampshades is nothing compared with what clutters so many productions of the Flute.

Most of the roles are double cast, and two conductors lead the tour; in this musically satisfying performance at Poole’s Lighthouse, James Southall drew an admirably crisp account of the score that felt brisk but never pushed. Anna Patalong stands out as a warm and smooth-toned Pamina, singing a tender “Ach, ich fühls”. Nicholas Sharratt uses his keen tenor to princely effect as Tamino, and Wyn Pencarreg’s quirky Papageno is funny and wistful, refreshingly free of overplayed antics.

Laure Meloy’s mysterious Queen of the Night supplies secure, glinting coloratura, and Andrew Slater’s Sarastro has plenty of presence. Thanks to Piotr Lempa’s resonant bass, the Speaker makes an unusually strong mark. Hannah Swale is a bright Papagena, and the other singers keep up standards evenly.

Until May 31. Tour details: englishtouringopera.org.uk

King Priam performed by English Touring Opera at the Linbury Studio, with Roderick Earle as Priam