NODA REVIEW

Opera Nova's production of The Magic Flute attracted an appreciative audience of opera-lovers when it was performed at Eltham.

Paul Govier-Simpson's direction was traditional and secure and made full use of the small stage area and the differing levels provided by the set. The principalswere able to move freely around the stage even when it was deliberately confined, for instance, in some of the trial scenes, however, much more could have been made of the chorus in Act I sc. 3 outside the temple when there was really no sense that they were villagers and a community as they seemed to be standing in static line positions on the stage. As this scene and the finale scene are the only ones that the ensemble appears in, I that this was a wasted opportunity, however, at least the ensemble were able to make a curtain call for in many professional performances they have been able to go home at the interval!

Martin Cleave, as Musical Director, conducted an orchestra which was well balanced with the singers and he did stirling work with the baton to keep the music moving when the singers began slowing the pace.

Tamino's first entrance was to creep down the auditorium stairs and then appear on the stage, however, this was marginally spoiled by the lack of light as he made his way across the auditorium. The Saturday matinee cast had Guido Smeets as Tamino who looked good and the right age to play the part. It was difficult to hear some of his dialogue at times and, perhaps because he was nervous, his singing technique did not allow him to pitch some of his top notes which gave the impression of being 'pulled up'. He worked well with Pamina, Helen Semple. She looked lovely in costume and gave a confident performance of a distressed maiden ready to be rescued by the right man whilst deterring the advances of the unsuitable. Her aria in Act 2 was a pleasure to listen to.

Carole Fisher-Grant, Jenny Jonas and Marilyn Bigham as the Three Ladies performed a good opening trio despite at times the diction becoming somewhat lost. There were moments of humour during Act 1 sc 1 particularly when they interacted with cowardly Papageno.

Nick Gee, as the bird catcher clearly had a stage presence, clear diction and a good timbre, but I would have liked to have seen more light and shade in his acting performance particularly in the trial scenes.

Janette Cattell gave a spirited performance as the Queem of the Night and at times looked and sounded quite malevolent.

Paul Harbig, as the 'Blueman' Monostatos, obviously played the character who is not the least likeable, however, some of his characterisation was lost on the audience as at times it was impossible to hear dialogue and he seemed to have, at the matinee performance, a problem remembering words.

The Three Spirits, Clare Sutton, Theda Lehmann and Jane Harding, sang well and guided the two adventurers and Pamina with the right degree of ethereal detachment and 'god-motherly' advice and intervention.

Susan Watts played a credible and confident Papgena and the final duet with Papageno and Papagena was joyful.

John Dawswell, held the audience's attention well when he sang and spoke having a confident stage presence as Sarastro.

The Priests'/Armed Men, Godfrey Kelsey-Jansen and Vincent Morrissey performed well in their own right and also made credible attendants to Sarastro.

The costumes in the main looked lovely, particularly those of Pamina, the Queen of the Night and the Three Ladies. There were others which did not seem to fit as well particularly the armed men who seemed to be wearing each other's breast plates, which made them look unintentionally comical. The lighting was interesting but did not quite come off at times as there were many dark shadows in scenes that were meant to be well lit. There were also occasions when only the front of the stage floor seemed to be lit with lights that needed to be readjusted as the heads of perforomers were in shadow. The 'blinders'in the Temple scene did not work effectively. There was, however, good use made of the gobos in Act 2 sc. 2. The scenery was simple and effective.

Overall, an enjoyable production of this much loved opera by Mozart. Well done to everybody who worked so hard both front and back stage.

Chris. Williams