This was Mozart at its most magical, Wilton’s at its most atmospheric, and Charles Court Opera at its absolute best
There are productions of The Magic Flute that dazzle, and then there are productions that truly transport you. Charles Court Opera’s revival of their much-loved staging does both—delivering a performance so enchanting, so immersive, that it feels like stepping into a dream.
Mozart’s final opera is one of his most magical works, a fairy-tale journey through love, wisdom, and self-discovery, woven together with some of the most sublime music ever written. But what makes this Magic Flute stand out is the fresh and imaginative vision behind it. Celebrating their 20th anniversary, Charles Court Opera under the direction of John Savournin has revived this production with flair, wit, and a touch of the unexpected. Inspired by Simon Bejer’s travels to Peru, the setting shifts from an abstract land of mystery to a lost jungle temple, where ancient rituals and vibrant wildlife breathe new life into Mozart’s world.
The set design makes fantastic use of Wilton’s split-level stage, with a stunning altar as the centrepiece, evoking the feeling of an ancient sacred space. The entire production is rich in colour and texture, from the intricate Peruvian fabrics and headpieces to small but evocative details like shells used for libations and magic potions. Even during the interval, the sounds of the jungle continued, keeping the audience immersed in this strange and wonderful world.
With a cast of top-tier voices and actors, this Magic Flute was a joy from start to finish. Matthew Kellett as Papageno was a standout, delivering a wonderfully earthy, streetwise performance with spot-on comedic timing and a relaxed colloquial accent that added extra charm. Martins Smaukstelis brought conviction and warmth to Tamino. As Pamina, Alison Langer was captivating, her crystal-clear voice and emotional depth ensuring every moment resonated. Peter Lidbetter’s Sarastro was an absolute force, his deep, golden bass so smooth and resonant it felt like a presence in the room—a true vocal highlight. Eleri Gwilym commanded the stage as the Queen of the Night, delivering her famous arias with precision and fire, while Sarah Prestwidge brought comedic flair and charm to Papagena, making the most of her brief but memorable role. Joe Ashmore’s Monostatos and the ensemble cast rounded out the production with dynamic, engaging performances, making every character feel vivid and alive.
With only a piano accompaniment, led brilliantly by David Eaton, the production needed an extra layer of movement to compensate for the grandeur of a full orchestra. And it delivered. The choreographed stage movement was so fluid and expressive that it filled in the space where orchestra would usually do the heavy lifting. At times, the lush jungle setting, combined with the almost Art Deco aesthetic of the costumes and the rhythm of the piano, gave the performance a dreamlike, silent-film quality—like watching a 1920s fantasy movie come to life. It was a truly original and inspired touch.
This was Mozart at its most magical, Wilton’s at its most atmospheric, and Charles Court Opera at its absolute best. If you get the chance, do not miss it.