'The Magic Flute' review — this magical production of Mozart's beloved opera conjures up romance, humour and joyful escapism

Read our review of The Magic Flute, directed by David McVicar, now in performances at the Royal Opera House to 3 November.

Summary

• The Royal Opera House celebrates its 400th performance of iconic Mozart opera The Magic Flute
• David McVicar's enchanting production features magical puppetry and joyful storytelling
• Kathryn Lewek is outstanding in the demanding role of the Queen of the Night
• Huw Montague Rendall also impresses as the charmingly mischievous Papageno

The Magic Flute, premiered in 1791, remains one of the most performed operas to this day – and deservedly so. Mozart’s masterpiece fuses magical instruments, whimsical creatures and angelic music into a spectacle that is both accessible and profoundly engaging. The plot centres around Prince Tamino, sent by the Queen of the Night to rescue her daughter Pamina from Sarastro – only to discover that the high priest isn’t the villain he expected. Although occasionally farcical, the opera offers countless unforgettable scenes and larger-than-life characters.

The Royal Opera House celebrates the 400th performance of the work on its stage with the triumphant return of David McVicar’s beloved production. More than 20 years since its first performance, designer John Macfarlane’s massive sets still transport the audience to a fairy tale kingdom where the heroes face enchanted forests, dangerous power struggles, and outlandish monsters.

With some beautiful puppeteering – notably the dragon during “Zu Hilfe!” – and fantastical costumes such as Monostatos’s gothic-inspired appearance, it’s simply a joy to look at, even if it remains on the traditional side. Everything fits together, from Paule Constable’s atmospheric lighting to the physical comedy in Leah Hausman’s movement directing.

The performers, too, seem to revel in the luscious extravagance of the designs. Amitai Pati delivers his Tamino with a pleasant, tender voice and a solid rendition of “Dies Bildnis”, capturing the prince’s awe as he first sees Pamina’s portrait. Lucy Crowe’s sincerely delivers Pamina’s despair, while Soloman Howard’s smooth, powerful bass lends the often-broody Sarastro some unexpected warmth, softening the high priest’s usual severity.

Two performances are particularly outstanding, however. Kathryn Lewek as the Queen of the Night, a demanding role requiring an exceptional range, is dazzling. Lewek masters both arias with a brilliant, dramatic interpretation and technical skill – a testament to the fact that she has reprised the role over 300 times. Her sheer outrage and desire for revenge is tangible. Huw Montague Rendall, meanwhile, supplies magnetic charisma in a delightful interpretation of the mischievous Papageno. With excellent comedic timing and an honest, lyric baritone, his acting convinces just as much as his singing.

The Magic Flute features an impressive variety of music, from Papageno’s more folk-like melodies to the majestic hymnal harmonies at Sarastro’s court. French conductor Marie Jacquot, making her Royal Opera debut, leads the orchestra with a confident baton that skilfully weaves through the complex passages and delights in the playfulness of the score.

McVicar’s staging invites us on a magical journey. While some audiences may prefer a more modern production, his production nevertheless guarantees an evening of heartfelt romance, humour, and joyful escapism for children and adults alike.

The Magic Flute is at the Royal Opera House to 3 November. Book The Magic Flute tickets on LondonTheatre.co.uk

Photo credit: The Magic Flute (Photos by Johan Persson)