REVIEW: Mozart’s THE MAGIC FLUTE Charles Court Opera at Wilton’s Music Hall 25 Feb – 8 Mar 2025

Photography: Bill Knight

‘Fantastical tales and sublime singing in the jungles of Peru’ ★★★★★

Tamino is set on a quest by the Queen of the Night to rescue her daughter Pamina from Sarastro who has kidnapped and imprisoned her. With his trusty, comic sidekick, Papageno, Tamino sets off on a fantastical journey. But all is not as it seems. Just who are the goodies and baddies and how can Tamino survive the trials he is faced with? 

The Magic Flute has always been a problematic piece. Part opera, part pantomime, it has misogyny and racism hard baked into the libretto, and while the music is often sublime, it can be a difficult show for modern audiences. Which is why John Savournin’s incredible reimagining, revived by James Hurley, was such a revelation and packed full of surprises, (even for someone who has performed the opera multiple times). For example, the evil Monostatos (traditionally a Moor performed in “black face” by a white singer) becomes a slimy colonial infiltrator in Sarastro’s kingdom. 

This production sets the opera in the jungles of Peru. The libretto, translated from the original German into English, had me almost gasping at points with its resonances with modern day geopolitics. (I saw the opera the day after those extraordinary scenes from the White House between US President Trump and Ukraine President Zelensky). This translation was a rallying cry against unjust war and being seduced by lies and untruths. The final ensemble exhorts us to unite and “put your trust in courage”.

The Three Ladies (who doubled as the Three Boys) were superb, with a special shout out to Meriel Cunningham who is as wonderful an actress as she is a singer. Peter Lidbetter made Sarastro’s arias far less dirge like than normal – no mean feat. Pamina’s aria “Ach ich fuhls”, always a glorious moment, was beautifully sung by Alison Langer, and Eleri Gwilym sang both Queen of the Night’s show stopping arias with delicacy, fire and a perfect coloratura technique. Matthew Kellet and Joe Ashmore’s Papageno and Monostatos rung every ounce of comedy they could from their roles. Martins Smaukstelis, made Tamino less of a wet noodle than he is sometimes portrayed, but struggled with some of the very top notes (though I wondered whether this was due to vocal tiredness). 

The tempi were faster than is often the case in some pieces, which brought a freshness to the opera, and required some expert articulation from the singers, such as with the Papageno/Papagena duet. It is so important when an opera is sung in English that the diction is clear, and all performers did this well. 

The production was a visual treat, and the puppetry elements were huge fun. This production would be a great introduction to opera for people who have never been before, and FAR more affordable than mainstream opera houses. 

Another triumph for Charles Court Opera. Bravo!

Mozart’s THE MAGIC FLUTE at Wilton’s Music Hall 25 Feb – 8 Mar 2025

New English version by John Savournin and David Eaton

Venue: Wilton’s Music Hall

Dates: 25 February 2025 – 8 March 2025

BOX OFFICE https://wiltons.org.uk/whats-on/the-magic-flute/ 

Performers: Matthew Kellet, Alison Langer, Martin Smaukstelis, Peter Lidbetter, Sarah Prestwidge, Martha Jones, Meriel Cunningham, Joe Ashmore, Eleri Gwilym

Director: John Savournin/ Revival Director: James Hurley

Music Director: David Eaton

Designer: Simon Bejer/ Revival Designer: Lucy Fowler

Lighting Designer: Ben Pickersgill

Choreographer: Merry Holden