Musical theatre / “Die Zauberflöte” (The Magic Flute) directed by Peter Coleman-Wright for National Opera, June 27 only, at Albert Hall. Reviewed by ALPHA GREGORY. 

A PLEASING ‘pocket opera’ production of Mozart’s “The Magic Flute” was presented by National Opera on Sunday afternoon in a rather cold Albert Hall. 

The temperature didn’t deter the performers or the audience, who were keen to express their appreciation at the end of the 64 enjoyable minutes.

Canberra’s National Opera company began with a bequest some years ago. As we understand it, its mission is to give local performers further opportunities to develop their individual and live performance skills. This production showcased an impressive range of talent, with several of the dozen performers already showing good vocal technique and stagecraft.

Presumably one of the reasons for which pocket opera is designed is to extend the audience by reducing the commitment required from the viewers. There were some families in the audience so this seems to be happening. Also, the operatic short form provides the opportunity for artists to learn a major role without the need to stage a full production.

Director Peter Coleman-Wright is on the record as saying that the “pared-back performances convey the essence of the original opera without diminishing its vocal and emotional power and is the ideal introduction to the wonders of opera”. His direction of this production made a major contribution to these goals being achieved.

This “Magic Flute” was done and dusted in just over an hour compared with the full opera’s two hours and 45 minutes. In that hour we were treated to “all the best bits”. The story, sung in German, was relatively easy to follow, with what sounded like impressive German to this non-speaker.

The arias that are possibly best known, “Der Hölle Rache Kocht In Meinem Herzen” (Hell’s vengeance boils in my heart) sung by the Queen of the Night (Josephine Lonergan) and  “Papageno Papagena”, (Thomas Nolte-Crimp and Lily Ward) where the happy couple stutter their delight at being united, were undoubtedly the favourites of the audience, who responded warmly.

Several of the strongest vocal moments were in the ensemble numbers, with the performers feeding off each others’ confidence to produce strong, well-balanced renditions that overcame the acoustic challenges of the venue.

Ella Luhtasaari, repetiteur, was the unseen star of the show, accompanying the singers and setting suitable tempi for all the songs. She was behind the keyboard on stage and couldn’t be seen, so the magic of her playing was supportive and not at all distracting. She is to be congratulated for her energy and wonderful performance. She kept the pace moving.

To set this complicated opera onto the very small stage in Albert Hall was a challenge that was met head-on. A simple screen decorated in greenery fulfilled all the necessary requirements and the gate in the middle allowed easy flow on and off the stage.

Covid had yet again intervened and was the cause of notable absences, by prohibiting two of the team from being in Canberra. One was the director, Peter Coleman-Wright and the other was one of the Spirits. But the former can rest assured that the performance went very well, even in his absence. The second absentee can rest easy in the knowledge that the show did not, in fact, want for spirit.