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REVIEW: Martin Dreyer’s verdict on Opera North in The Magic Flute, Leeds Grand Theatre, September 28

Opera North in James Brining’s revival of The Magic Flute. Picture: Tristram Kenton

FOR the start of her first full year as general director, Laura Canning is presiding over an autumn of three revivals, of which this production by James Brining is the first.

Doubtless she had no say in the schedule, but it still looks cautious, especially when viewed in the wake of, for example, Buxton Festival’s five new productions this summer.

Brining operates as artistic director of Leeds Playhouse, just a short walk away from the Grand Theatre, and this had been his first full operatic production. It still shows signs of over-calculation.

Before the curtain we are treated to a welcome designed to embrace newcomers. Old-stagers might have regarded it as patronising but, seen alongside a bare-bones outline in the programme of what constitutes opera in the first place, it is arguably a useful introduction to an artform that too many have found intimidating: an attempt to cast the audience net more widely, in other words.

This process must be treated gingerly, however, if the company’s core audience is not to be deterred. The overture is intended as an introduction, presenting themes and building anticipation.

All of that is dissipated when it is overlaid with a dumb show, based on Bergman’s cinematic view of the whole work being a child’s dream/nightmare, that has little or nothing to do with Mozart. So, overture and dumb show are at odds with one another: in our screen-obsessed age, the eyes take over and the overture goes for naught.

As it was, Christoph Koncz, making his Leeds debut, opened the overture very slowly and followed with an extremely rapid allegro, which the orchestra – now under its new leader Katie Stillman – handled with panache. Thereafter Koncz impresses with the transparency of the textures he conjures.

Egor Zhuravskii has graduated from Fenton in Falstaff to Tamino here, and does so smoothly enough. Narrow at the start, his tone opens out over time but remains a little dry, albeit stylish. There is not much genuine feeling between him and Claire Lees’s admirable Pamina, but she entrances with every appearance and sounds ready for greater things.

Leaning heavily on his Welsh lilt, Emyr Wyn Jones makes an affable dunderhead of Papageno, almost taking the pantomime route, while Anna Dennis makes an imposing Queen of Night, edgy, determined and accurate.

Msimelelo Mbali, as Sarastro, lacks the gravitas shown by Andri Björn Robertsson’s Speaker, but his bass grows in authority in Act 2. Colin Judson offers an apt irritant as Monostatos, in place of the repellent figure we had last time.

Pasquale Orchard makes a charming Papagena, although she is introduced to Papageno early and deprived of her ‘old lady’ disguise. Many of the lesser roles are ably assumed by members of the chorus, proving its versatility.

Colin Richmond’s flexible set proves its worth once again, as does Douglas O’Connell’s high-impact video effects.

Brining envisaged Blakean poles of innocence and experience. He might instead have allowed Mozart and Schikaneder – in Jeremy Sams’s colloquial translation – to speak for themselves. The plot is complicated enough as it is.

Review by Martin Dreyer

Performances: Leeds Grand Theatre, February 12, 13, 15 and 22 2025, 7pm. Box office: 0113 243 0808 or leedsheritagetheatres.com. Hull New Theatre, March 27 and 29 2025, 7pm. Box office: hulltheatres.co.uk.

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REVIEW: Martin Dreyer’s verdict on York Opera in Mozart’s The Magic Flute

Heather Watts as Queen of Night in York Opera’s The Magic Flute: “Fiery coloratura spiced with menacing gesture”. Picture: Benjamin Lindley

The Magic Flute, York Opera, at York Theatre Royal, tonight and Friday, 7.15pm; Saturday, 4pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

AFTER 20 frustrating months, York Opera is back where it belongs – on the Theatre Royal stage. We may all rejoice.

Running an opera company is backbreaking work at the best of times. Covid has been making it a whole heap harder. Mozart’s last opera would not necessarily be an automatic choice after so long a lay-off and is certainly not an easy option. But the company has dug deep and delivers the goods in a splendid revival of John Soper’s traditional production, first seen in 2009.

In the distribution of laurels, there are many individuals to compliment. But one entity stands out. Derek Chivers’s 20-piece band, using an excellent orchestral reduction by Kenneth Roberts, takes the score by storm.

Hamish Brown’s Prince Tamino and Alexandra Mather’s Pamina. Picture: Benjamin Lindley

On opening night they began untidily, to be sure, but halfway through the overture there was no stopping them, inspired by a woodwind quartet of the highest calibre whose colourings and accuracy are a marvel throughout. Claire Jowett, a stalwart of so many groups, offers untiring leadership of the strings. One member, James Sanderson, slips in and out of the pit as player of the magic bells when not singing First Priest, a unique double act.

The singers clearly relish such a strong foundation. Foremost among them is Heather Watts, who returns to deliver another impeccable Queen of Night, fiery coloratura spiced with menacing gesture, a thrilling performance by any standards. David Valsamidis makes a witty, amiable Papageno, whose superb diction is allied to a warm baritone. Unlike some, he never forgets his audience.

Alexandra Mather is a fetching Pamina, whose emotions are conveyed not only by her clear soprano but also by complementary facial expressions, a valuable asset. Her Tamino is Hamish Brown, who takes the role that illness denied him last time round. His tendency to jerky movement undermines his princeliness, but his accurate if pinched tenor covers the ground well.

Monostatos might suit his personality better. That role goes to Ian Thomson-Smith, last time’s Papageno. He sings it musically but without quite the venom this nasty character demands. The Sarastro of Mark Simmonds is clad much like an orthodox priest; his bass is a little underpowered at the bottom of the range, but otherwise firm and decisive.

David Valsamidis: “Makes a witty, amiable Papageno” in his York Opera debut. Picture: Benjamin Lindley

Lesser roles are covered with distinction, reaffirming the company’s strength in depth. Clive Goodhead is an authoritative Speaker, doubling as an Armed Man (here described as Guardian of Fire), while Elizabeth Vile is a vivid Papagena.

I was much taken by the three Genies, Victoria Beale, Hannah Just and Maggie Smales – standing in for the usual ‘Boys’ – blending superbly like their rich white brocades, breeches and tricorns. Equally impressive are the spear-carrying Three Ladies, Annabel van Griethuysen, Rebecca Smith and Maggie Soper, a determined trio.

The chorus seems to have acquired some new blood and sounds fresh and committed. They are also very disciplined, moving with intent but keeping still when merely onlookers, which is easier said than done. I had forgotten how rich Maggie Soper’s costumes are, distinctive and a feast for the eye. A word, too, for Eric Lund’s nicely varied lighting.

John Soper’s own masonic-style permanent set fits the bill well: two panels of stars and planets divided by gold triangles and circle, with a chessboard platform in front. If it were a little closer to front-stage, some of the solo voices would resonate better than they do from further back. His production is now even more slick than before and more clearly organised; he merely needs to get some of the spoken dialogue better projected. But this is a cheering evening in so many ways and deserves widespread support.

Review by Martin Dreyer

Maggie Soper’s costumes in York Opera’s The Magic Flute: “Distinctive and a feast for the eye”. Picture: Benjamin Lindley
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York Opera to return to York Theatre Royal after two-year hiatus with The Magic Flute

Alexandra Mather’s Pamina, Mark Simmonds’s High Priest Sarastro and Hamish Brown’s Prince Tamino in York Opera’s The Magic Flute. Picture: John Saunders

YORK Opera will return to York Theatre Royal after a pandemic-enforced two-year gap with Mozart’s The Magic Flute next week.

Sung in English to orchestral accompaniment, Mozart’s last great operatic masterpiece will be performed on November 2, 3 and 5 at 7.15pm and on November 6 at 4pm.

The story follows Prince Tamino and his quest to rescue his beloved Pamina from the grasp of her mother, the evil Queen of the Night, and return with her to the world of light presided over by Sarastro, the High Priest of Isis and Osiris.

Premiered in 1791, the year of Mozart’s death, The Magic Flute has a deep and serious theme: the ultimate triumph of light and enlightenment over the powers of darkness and superstition. Yet the story of a Prince finding his true love in a world of dragons, magic bells and magic flute serves as an operatic pantomime too, making it the perfect introduction to opera.

David Valsamidis: Making his York Opera debut as bird catcher Papageno

York Opera’s stage director for The Magic Flute is John Soper, a long-serving member, baritone soloist and publicity designer, who has designed the sets too. Musical direction is in the hands of Derek Chivers, whose last appearance with the company was as musical director and conductor for Carmen in 2018.

Among the many soloists will be Mark Simmonds as High Priest Sarastro, Heather Watts as Queen of the Night, Hamish Brown as Prince Tamino and Alexandra Mather as Pamina, while bass David Valsamidis makes his York Opera debut as Papageno, the Queen of the Night’s bird catcher.

To complement these five major roles, a dozen more named solo parts ensure York Opera’s wide-ranging vocal talent will be on display.

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

Heather Watts, as the Queen of the Night, left, and Alexandra Mather, as Pamina, in York Opera’s The Magic Flute. Picture: John Saunders

Meanwhile, a note from York Opera…

OPERA is possibly the most demanding of all the arts, especially for any young singers dreaming of becoming established performers.

Those setting out on such a road need reliable opportunities to learn and develop their craft both as singers and actors. Where are they to receive the support that they need?

Look at how York Opera responds to this need. This amateur opera group prides itself on its high standards and its determination to employ York and district orchestral musicians to accompany the productions of grand opera and other works, staged twice a year for more than 50 years.

Latterly too, York Opera has welcomed an influx of younger singers, who have complemented and extended the range of expertise within the group.

Alexandra Mather: York opera singer attended the Glyndebourne Academy in 2019. Picture: James Belloris

In addition, plans were in place to try out a handful of new stage directors and musical directors, moving on from their roles as assistants or repetiteurs. They were to have the support of an overall production manager, Clive Marshall, one of York Opera’s most experienced producers, and would have taken charge of four fully staged operatic excerpts to be performed at York’s National Centre for Early Music.

Unfortunately, the Covid pandemic brought everything to an abrupt halt. Now, nearly two years later, York Opera is almost back on track.

All these developments came under the umbrella of York Opera’s Stepping Stones project, one that received a boost from Australian soprano Danielle de Niese, whose home at Glyndebourne, in Sussex, has its own springboard: the Glyndebourne Academy.

This operatic development project aims to support gifted and talented young singers, and so far, two York Opera members, Andrew Powis and Alexandra Mather, have taken part, with hopes that others will do so in future.

Soprano Danielle de Niese: Letter of support to York Opera

Learning of this involvement, Danielle de Niese has provided a letter of support. “I was approached by the president of York Opera, Clive Goodhead, after a performance of Massenet’s Cendrillon at Glyndebourne Opera House. He explained that York Opera has a proud and firm reputation as a long-standing, highly successful amateur group up in Yorkshire.

“One of York Opera’s charitable aims is to provide opportunities for young singers, especially those who might entertain the idea of becoming future professionals. In this respect, its aims have much in common with those of Glyndebourne’s Academy programme.

“The latter is widely recognised as an amazing opportunity for young singers. Always massively oversubscribed, it represents a real achievement and outstanding opportunity for anyone who passes its auditions.

“York Opera, I am told, is delighted to have seen two of its younger members, Andrew Powis and Alexandra Mather, joining the project in recent times. I am most happy to offer both of these singers my best wishes for their operatic futures.

York Opera singer Andrew Powis, who has studied at the Glyndebourne Academy

“I am also more than pleased to offer my sincere appreciation to York Opera. It has my whole-hearted support as a vital early stepping stone for younger opera singers aspiring to be professionals one day.”

Alexandra Mather will be playing Pamina in The Magic Flute and around a dozen other principals and chorus members in next week’s production at York Theatre Royal are younger singers.

“Opportunities of this sort are vital if the United Kingdom is to provide reliable home-grown experiences as stepping stones for the next generation of professional opera performers,” says Clive Goodhead.

“Amateur groups of the quality and stability of York Opera deserve greater recognition and support themselves. The group is a registered charity (No. 700279), one of our aims being to educate in the art of opera. We are self-supporting, actively welcoming of new members and always seeking sponsorship.”

More information can be found at yorkopera.co.uk.