EIF: The Magic Flute: Concert Performance

Usher Hall - 12/08/23

Scottish Chamber Orchestra - Maxim Emelyanychev, conductor 

SCO Chorus - Gregory Batsleer, director 

An outstanding semi-staged performance of ‘The Magic Flute’ delighted a packed Usher Hall, as the Scottish Chamber Orchestra under Maxim Emelyanychev, the SCO Chorus directed by Gregory Batsleer and a sterling cast of singers made every one of Mozart’s notes and Schikaneder’s words count.  Sadly the two-person narration which replaced the dialogue proved a major miscalculation. 

Period horns and trumpets, the brisk tempos of the overture, Tamino (Ilker Arcayürek) runs on, cries for help, and here are Three Ladies.  Elizabeth Watts, Catriona Morison and Claudia Huckle are luxury casting, and their precise ensemble singing is accompanied by astute comic acting.  When they’re joined in the quintet by Ilker Arcayürek and Gyula Orendt as Papageno – even briefly by Emelyanychev as he moves between them to conduct – it’s one of these astonishing moments where music-making and festivals all come right! (Is there perhaps an undiscovered sequel opera ‘The Further Adventures of the Three Ladies?’)  

Baritone, Gyula Orendt, is a terrific Papageno, whose warm voice and generous persona make him an ideal foil for Tamino and later for Pamina (Julia Bullock) – their delightful duet, taken at an easy-going pace is a musical highlight.  Tamino is a tricky part, and Alcayürek’s voice is still not quite settled as he tackles his big aria early on, but it’s ringing out well by the end of the first Act. Bullock acts sensitively and her characterful soprano works well in Act I although she strains to reach higher notes by Act II. 

Kathryn Lewek, Queen of the Night, and Brindley Sherratt, Sarastro, renowned practitioners of their roles, reach their peak in in Act II when Mozart juxtaposes their best arias – the Queen of the Night’s high-pitched florid coloratura preceding Sarastro’s folk-like melody, at the bottom of his range.  A sublime contrast yet each of the characters remains an enigma, hiding heights or depths of deceit. The experienced tenor, Peter Hoare, brings malice and bustling energy to Monostatos as he shifts allegiance from one tyrant to another. The Three Children, Tharuni Kalavanna, Patrick Devlin and Frederick Mushrafi blend their trebles delightfully and bring a happy ending to the opera’s hero, Papageno.  He’s on the side of humanity and that’s why the odd tear is shed as he finds his mate, Papagena – a lovely cameo from Scot, Rachel Redmond. 

Tonight’s programme reveals for the first time that David Pountney is director as well as writer of the narration.  Thomas Quasthoff introduces himself as Schikaneder – so far so good – then Neil John Gibson rushes on, “Sorry a’m late. It’s thae buses.”  Help ma boab, jings crivvens, it gets worse: “Ah like a wee dram,” and “Is the Pope a Catholic?” An interval straw poll indicates one young Scot in favour, three older Scots vehemently against - “cringeworthy.”  Perhaps a ham-fisted attempt at accessibility?  Despite the readers’ best efforts, this misfires badly. 

Thankfully, Maxim’s community overcomes this chaos! The keyboard glockenspiel was probably played by Mozart conducting the first performance, and appropriately tonight Emelyanychev, who holds this magnificent evening together, opens a magic box and plays Papageno’s bells. 

Cover photo: Andrew Perry