Twice in a week I have been reminded of the enthusiastic reception Mozart's Magic Flute received at its inaugural run in the autumn of 1791, just before his death.
First came the sheer pantomimic fantasy of Welsh National Opera's brilliantly surreal presentation, then on Friday came Longborough Festival Opera's revival of its 2002 production with all its closeness to the audience and an acoustic which means voices never need to be forced.
LFO's intimate, charming auditorium is probably a lot like Mozart's Theater auf der Wieden, though its location in rolling Cotswold countryside and with highly-civilised supper arrangements is worlds away from a slightly scruffy Viennese suburb.
Doubtless the Austrian groundlings would have interacted more with the stage, but Eamonn Dougan, with such engaging body-language, worked the audience hard as Papageno and made a tremendous allround impression.
This almost turned the enlightenment- seeking Tamino into his straight-man, and Nicholas Smith was appropriately dignified in this difficult role. Charlotte Ellett made a delightful Pamina, Tamino's destined soul-mate, and as her mother, the malevolent Queen of Night, Laure Meloy had a commanding stage-presence and crystalline, virtually total accuracy in her stratospheric coloratura.
Richard Wiegold's authoritative Sarastro lacked projection of his most cavernous notes, but delivered Jeremy Sams' deft translation with such clarity that I was made more aware than ever just what a misogynistic opera this is (I would love to see a tables- turning feminist production).
Robert Dean conducted a neat, colourful orchestra ( including what sounded like a keyed glockenspiel), and Alan Privett's thoughtful production moved intelligently across Jens Demant Cole's resourceful set.
And in Tamsin Dalley, Third Lady here, there is a warm, rich alto with a future to follow. n In repertoire until July 30 (01451 830292).
Christopher Morley
