'The Magic Flute’

Press, 11 July 1986, Page 4

'The Magic Flute’

“The Magic Flute,” by Mozart, directed by Elric Hooper for the Canterbury Regional Opera Trust, with the Christchurch Symphony Orchestra conducted by John Matheson, at the James Hay Theatre, BNZ season from July 10 to It. Reviewed by Nan Anderson. Oh for a touch of magic In the pen when it has to beat witching hour deadlines, and so much could be written about last evening’s gala opening of the BNZ season of “The Magic Flute.” Prior publicity promised a great deal, and the first-night audience was not disappointed, if "bravos" are anything to go by. Visually there are stunning effects in Tony Geddes’s set design and Pamela Mating’s costumes. The steeply raked stage did seem to pose some problems, especially in Act 1, but most of the singers had found their feet and.balance by the second act.

In purely dramatic terms, the presentation worked well, apart from some first night hiccups. Besides the chameleon-

like dragon that metamorphosed into many things, including a lily pond, scene changes were unobtrusive.

What can be the bugbears in this opera—the death of the serpent, the music-loving animals, speaking doors, the fire and water ordeals —were contrived without emphasising theatrical tricks. After all, there is not much to be gained in making these effects over spectacular, when it is the music that is the real marvel.

Right from the overture it was clear that Mozart was well served by John Matheson’s direction. Taut phrasing, an absence of heavy accent, a sound which was rarely out of balance with the singers—these were the hallmarks of the orchestra’s fine contribution to the performance.

The best of the singing and speaking dialogue was very good indeed. One expected and got a splendid * resonance in Grant Dickson’s singing and speaking as Sarastro. Christopher Doig’s characterisation of Tamlno had stage assurance and nobility of sound.

Papageno was a very bucolic, likeable character in Graeme Gorton’s hands. Ab times I felt there was a tendency to sacrifice Mozart in going for the easy laugh. But the second act duet with the youthful Papagena was most appealing. Gilbert Wyberg played Monostatos as a sort of black Papageno, impressive to look at but vocally lacking projection. Patricia House’s interpretation of Pamina went a considerable way in showing the controlled dignity becoming a princess, and she sang with unfailing artistry. The three ladies, Jillian Bartram, Judy Bellingham, and Ursula Ryan, performed splendidly as an ensemble. Marcia MacKinnon has the vocal compass of the Queen of the Night, but did not fully convince as a source of malevolence. The chorus was well trained thanks to David Vine, and so were the Three Spirits—Nicholas Manders, Glen Drake, Tome Griffiths—who gave a good account of themselves in exalted company|: