“Breathtaking performances demand attention.”
The Royal Academy Opera’s Die Zauberflöte, directed by Jamie Manton, assembles an audacious blend of gifted musicians and performers, all set against a backdrop of mesmerising, ethereal lights that seem to defy gravity, navigating us through the unfolding drama.
Zahid Siddiqui took the stage with a noble Tamino, expressive and grounded, captivating us on his tumultuous quest for enlightenment accompanied by his loveable sidekick, Papageno, performed by the highly engaging and naturally comedic Conrad Chatterton. Grace Hope-Gill’s interpretation of Pamina was a stunning blend of delicate and bright, and the star of the nacht, the Queen of the Night, Binny Supin Yang, wielding a voice sharp enough to slice through the entire audience and dripping with soprano flair. One to watch closely.
The entire cast comes together forming a symphony of breathtaking performances which soared through the hall, demanding attention, though the lack of chemistry between characters and insufficient cohesiveness and motivation diminishes the shows impact.
Regrettably, Mozart’s Die Zauberflöte, often hailed for its vibrant colours and fantastical elements, finds itself tragically diluted in this sterile, semi-modern, clinical visual interpretation. While it attempts to convey exuberance and whimsy—largely thanks to the lighting—the disjointed costumes (possibly appealing to an older generation of viewers), spongy mop-birds, and overly literal concepts designed to tether it to the reality of a hospital fundamentally fall flat, resulting in a visually muddled experience that ultimately diminishes the key, titular element: magic.
A truly remarkable performance from the pit by the Royal Academy Sinfonia, who played with such precision under Olivia Clarke’s baton making it seem impossible that these extraordinary musicians are still but students at the academy. Each overture revealed layers of nuance and an understanding of the music that transcended their years, leaving everyone present in awe of this stunning display of youthful artistry. Clarke ably teases out the intricate layers of the score, with a sensitive pacing and rich texture, captivating the listener.
Overall an assured introduction to a huge pool of young talent both on, and below, the stage. Playing at the Royal Academy of Music’s Susie Sainsbury Theatre Tuesday 18 – Friday 21 March.