Simon McBurney’s Magic Flute, when new in 2013, was received in some quarters rather sniffily. With further work by the production team (Josie Daxter is credited as revival director), and superb conducting by Mark Wigglesworth, the production now reaches new levels.
In collaboration with his theatre company, Complicité, McBurney wittily orchestrates visual and sound effects from the sides of the stage. Words and images scratched on a chalkboard are magnified on a large screen, just one element in a fantastic armoury of theatrical devices: technologically up-to-the-minute, yet faithfully recreating the homespun nature of Schikaneder’s original concept of the work. The orchestral players, raised to the level of the stage, become active participants. Wigglesworth’s conducting, always sensitive to shifting colours and emotions, is also fluently paced to complement the action.
Lucy Crowe, gleaming and honeyed in tone, irresistible in stage presence, is ideally cast as Pamina and duly wins all hearts. Not least that of Tamino, sung by Allan Clayton, who is vocally in excellent trim but needs to spend more time at the gym if he is to be stripped regularly to his boxers. Peter Coleman-Wright wins some sympathy with his characterisation of a no-longer-youthful Papageno, though unfortunately the vocal production also flags. James Creswell deploys his craggily magnificent voice as a powerful Sarastro, though he doesn’t seem to me a natural Mozartian.
Ambur Braid makes a brave attempt at the highwire act of the Queen of Night, even if her pitch is all over the stratosphere. The musical standards are high overall, though, and together with McBurney’s endlessly inventive staging, make this an evening to remember.
Until March 19, Coliseum (020 7845 9300, eno.org)
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