Review: CHARLES COURT OPERA - THE MAGIC FLUTE, Wilton’s Music Hall
Photo credit: Bill Knight
Famed for their chamber operas and boutique pantomimes, Charles Court Opera are back at Wilton’s Music Hall with a revival of their production of The Magic Flute. It’s a fitting setting for this production, with the onstage South American jungle spreading out into the audience, and ivy creeping up the famous barley sugar columns at this atmospheric venue.
There’s a cast of nine – large by CCO standards – and production values are high, with Simon Bejer’s designs (reimagined by Lucy Fowler for the revival) based on Peruvian costume and artefacts. John Savournin’s production has been directed for the revival by James Hurley, and makes good use of the sometimes tricky levels of the stage at Wilton’s.
No replacement for CCO Musical Director David Eaton however; he is there once again at the keyboard, providing the sole accompaniment for the whole performance with style and great skill - he is very much the core of the company. The cast, as ever, make much of the sometimes slightly leaden dialogue, although the lyrics seem more effective, especially when sung with as much clarity as they are here.
CCO regular Matthew Kellet returns as Papageno and uses all of his audience engagement skills, as well as playing his own pipes rather than miming them. His Papagena is Sarah Prestwidge, but she is also busy for most of the performance as the first of the three ladies, joined by Martha Jones and Meriel Cunningham. With the aid of some floating lights and later some lively puppets, they also take on the roles of the three boys.
Martins Smaukstelis looks every inch the hero as Tamino (though sadly, he never gets the chance to use his Harrison Ford whip), and is more than up to the vocal challenges, as is his Pamina, the sprightly Alison Langer. Joe Ashmore makes much of the reimagined Monostatos, here played as a Western explorer in pith helmet. His gangly portrayal suits the character and is often very funny.
It’s always good to see younger singers playing main roles with CCO rather than being banished to the chorus as is the case for some of them for the rest of the year. Eleri Gwilym’s vocally secure Queen of the Night is a remarkably energetic and beautifully sung portrayal, and nicely contrasted with Peter Lidbetter as Sarastro, filling the room and stilling the audience with his sonorous voice.
The snake and bird puppets that also appear are very effective and really help to keep the action moving in the second half, where the Masonic undercurrents are sensibly minimised in order that the various trials can be gotten through successfully.
It's a great introduction to The Magic Flute – or even to opera in general – if not quite as funny as some previous productions by this company, and an opportunity to see talented young singers given the chance to come to the fore.
**** Four stars
Reviewed by: Chris Abbott
