Mozart’s magic takes flight in an intimate, energetic production with some moments soaring higher than others
Opening at London’s annual Grimeborn Opera Festival on Tuesday 25 August, Mozart’s The Magic Flute feels right at home in Dalston’s intimate Arcola Theatre. Directed by Márcio da Silva, this 2019 production for Ensemble OrQuesta strips things back to a bare stage, physical theatre and naturalistic English dialogue. As Prince Tamino sets out to rescue Pamina, daughter of the Queen of the Night, accompanied by the lovable Papageno, the familiar fairy-tale unfolds as a journey through love, trials and enlightenment. With cast and orchestra sharing the stage, and musicians seated just metres from the audience, the production creates an inviting intimacy: less grand opera at a distance, more an invitation into Tamino’s dream.
The Hastings Philharmonic Orchestra ensemble, performing alongside the cast on stage, is one of the production’s strongest elements. Mozart’s score is packed with instantly recognisable moments, yet the orchestra keeps the music feeling fresh and energetic. From the beautiful opening through to the more dramatic passages, the musicians perform with impressive precision, with the more intricate sections particularly enjoyable to hear.
The cast brings plenty of energy, with the Three Ladies immediately standing out for their strong vocals and rich harmonies. Flavio Lauria’s Papageno initially provides warmth and much-needed comic relief, along with some particularly impressive whistling. However, his characterisation becomes less engaging as the performance progresses, particularly towards the climactic Papageno/ Papagena sequence, where the comic momentum falls somewhat flat.
Juliet Petrus, meanwhile, shines as the Queen of the Night and is undoubtedly one of the evening’s highlights. Once she launches into her iconic aria, there is little doubt where the audience’s attention belongs. Petrus tackles Mozart’s notoriously demanding coloratura with remarkable control, sending those famously high notes soaring around the Arcola with a clarity and power that makes the aria every bit as thrilling as it should be. It is a performance that demonstrates exactly why the Queen of the Night remains one of opera’s great vocal showcases.
There is also a genuine sense of collaboration throughout. The orchestra, chorus and cast feel like parts of a single ensemble rather than separate elements of the production, and even the conductor briefly joins the chorus to provide an additional vocal boost.
That said, there are occasions when the performance still carries the excitement, and nervousness, of an opening night. Some moments feel under-rehearsed, and the minimalist approach does not always translate into the same dramatic impact across the evening. The production is at its strongest when its simplicity allows Mozart’s music and the performers to take centre stage, but there are moments when that same restraint leaves the staging feeling a little thin.
Nevertheless, the intimacy of the Arcola, the strength of the orchestra and several standout vocal performances make for an enjoyable opening night. While this Magic Flute does not always cast quite as strong a spell as it might, there is plenty to admire and, particularly in Petrus’s Queen of the Night, more than a little magic still ringing in your ears.
The Magic Flute runs until 29 August at 7.30pm at the Arcola Theatre, Dalston with other operatic performances to be enjoyed until 2nd September.