Multum in parvo
The first Magic Flute I saw was in 1966, with Dietrich Fischer-Dieskau as Papageno, in the Old Theatre at Glyndebourne.
It was a pretty traditional (and very exciting) production as I (dimly) recall, though not as exciting, or traditional, as the filmed production staged in the eighteenth century court theatre at Drottningholm Palace, which had an actual Deus ex Machina in it, which I saw later on (black and white) TV.
So to the Charles Court Opera production at Wilton’s Musical Hall.
Nine singers and a pianist. Oh, and a new (English) libretto, and a somewhat revised book.
The setting ‘somewhere in Central or South America-ish’ was fine, and made as much sense as more traditional excursions – the most recent Glyndebourne Flute was set in a late 19th Century Grand Hotel in mittel Europe, after all. The (very simplified) plot also made sense, it was always mad and the Masonic background is not in the modern psyche.
At least the exoticism of Sarostro - a very solidly performing Peter Lidbetter’s - temple –- (and the queen of the Night– a genuinely disturbing Eleri Gwilym’s -‘castle’) seemed legitimate. The recasting of the unpleasant Monostatos - Joe Ashmore - (as a Western explorer and cad seemed a little ‘woke’ – but worked with Tamino (Martins Smaukstelis ) also being a western interloper into the South American setting.
And Alison Langer as Pamina offered an accurate and warm interpretation.
The necessary doubling (with a full cast of 9) meant that every singer, and not just the theoretical ‘principals’, had significant parts – all delivered to a fine standard and our Papageno (Mathew Kellet) showed himself a fine comedian as well as a fine baritone.
The chorus of the ‘3 ladies’ – doubling madly using puppets to represent some of the other elements, not always successfully (though the singing was always spot on) – worked their socks off (curiously, socks with sandals was somewhat of a costume theme).
There was single set, overrun with tropical greenery (and a late exposed Mayan-style head) – but this did work.
Overall a good show, and one appreciated by its audience. This will be a good earner for Wilton’s, I’m guessing. On till the end of the first full week in March.