The Royal Opera House's revival of David McVicar's production of The Magic Flute is back, 22 years after its debut, with Ruth Knight overseeing the revival. The production features re-lit orbs, a falcon, and a flying contraption, maintaining its dreamlike and atmospheric quality despite a technical hitch delaying the start of act two on opening night.
The opera, a Singspiel from the 18th century, blends edutainment moralising with panto-ready physical comedy, making it a lot of fun. The German dialogue is fluently delivered, and the cast includes Amitai Pati as Tamino and Lucy Crowe as Pamina, both vivacious and skilled. Pati makes a fine Royal Opera debut, while Crowe sparkles with warm tone and exquisite phrasing.
Huw Montague Rendall is a sympathetic Papageno, with easy singing and acute comic timing. Gerhard Siegel's Monostatos is a kitsch baddie, and Kathryn Lewek's Queen of the Night is steely and laser-accurate. Soloman Howard's Sarastro has easy authority, with sumptuous high register and dense velvet low notes. The three boys and three ladies deliver exceptional ensemble singing.
Young French conductor Marie Jacquot holds it all together with an utterly musical sense of pace, drawing ultra-stylish playing from the orchestra. Her intimate involvement with the music is evident, and this Royal Opera debut suggests she is a name to remember.
