The Magic Flute Opera Hong Kong HK Cultural Centre Grand Theatre Reviewed: Nov 7
This co-production of Mozart's The Magic Flute by Opera Hong Kong, the National Centre for Performing Arts and Norway's Den Norske Opera & Ballett is a triumph.
Director Paul Curran's masterly reading of the work shows why he has achieved international acclaim. He realises the many aspects of this masterpiece to the full, from the playfulness of Papageno to the solemn authority of Sarastro, produces first-rate acting from the entire cast and creates a timeless, magical world.
The sets and costumes by Gao Guangjian and Paul Edwards combine the Egyptian and masonic references of the text with Chinese and Japanese influences and a dash of Star Wars (complete with light sabres). With neon colours, they are as stunning in their originality as their beauty. There are delightfully imaginative effects such as the exotic birds pursued by Papageno and the Queen of the Night descending from the sky in a shower of stars.
The cast was dramatically and vocally superb. Paul Armin Edelmann's hilarious Papageno had the audience eating out of the palm of his hand and his singing was distinguished by deep, firm tone and impeccable control. In their tender Act 1 duet, he and Huang Ying's exquisitely lyrical Pamina gave an object lesson in singing Mozart. There was clean, focused singing from Bruce Sledge as Tamino, splendidly sonorous bass from Mika Kares as Sarastro and breathtaking coloratura virtuosity from Ekaterina Lekhina as the Queen of the Night.
It was gratifying to see local singers hold their own in such exalted company, including Freddie Tong's compassionate Speaker, Joyce Wong's perky Papagena and the finely sung Three Ladies of Carol Lin, Yuki Ip and Melody Sze.