At the Grand Theatre in Leeds, the captivating performances of the two female leads, paired with expert casting and striking design, truly elevate the spirited essence of the opera.
“While ‘The Magic Flute’ inevitably delves into themes of misogyny, highlighting the submission of women and themes of sinful pride, director James Brining’s vision for Opera North strikes a balance with a fantastical twist that directly addresses the opera’s underlying toxic masculinity. Although not every creative choice hits the mark—such as the Wizard of Oz-inspired framing device that falters towards the end, and a deeper exploration of the Queen of the Night’s complexity could be beneficial—it’s refreshing to see Sarastro’s oppressive regime depicted with disdain rather than reverence, fostering a sense of enjoyment throughout the performance.
The revival’s success is notably reinforced by the talented casting of its two leading ladies. Claire Lees, a member of Opera North’s chorus, captures the steely determination and clear, silvery tone essential for her role as Pamina, making Tamino’s immediate attraction feel authentic. Anna Dennis, as the Queen of the Night, mesmerizes the audience with her enchanting presence and silky middle register, which nearly eclipses her impressive yet daunting high notes delivered with apparent ease.
Egor Zhuravskii brings a delightful charm to Tamino, presenting a storybook appeal with his commanding voice and princely air. However, Emyr Wyn Jones shines as Papageno, effortlessly stealing the show with his lovable, cheeky performance that clearly embodies the spirit of librettist Emanuel Schikaneder. Conversely, Msimelelo Mbali struggles to project the required authority as Sarastro, delivering warmth but lacking the gravitas anticipated for the role. Colin Judson’s portrayal of Monostatos also falls short vocally, failing to match his lecherous stage persona. Among the supporting cast, Andri Björn Róbertsson’s imposing Speaker stands out, while the chorus makes a strong impression, particularly Pasquale Orchard’s lively portrayal of Papagena.
Colin Richmond’s set and costume designs vividly illustrate the opera’s contrasting realms—Sarastro’s sterile temple is characterized by clean white columns and red uniforms, while the wilderness is defined by oversized inflatable trees and tentacles. The Queen of the Night’s look draws on a striking blend of Maleficent-inspired and Dietrich-style glamour. Additionally, Douglas O’Connell’s video designs significantly enhance the production, especially during Tamino and Pamina’s trials by fire and water.
Conductor Christoph Koncz heads up a well-rehearsed orchestra, although on opening night, there were moments when it felt somewhat disconnected from the action on stage. His martial approach suits the grandiosity of certain passages yet leaves little room for subtlety. This interesting misstep doesn’t overshadow a production that aims to infuse color and complexity into a narrative often treated as black-and-white.
The show will be running at the Grand Theatre in Leeds until October 11 before embarking on a tour.
