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| James Platt (Sarastro) © Glyndebourne Productions Ltd/Bill Knight |
Barbe & Doucet (Direction & Design)
Patrick Martel (Puppet Designer)
Mikey Brett (Revival Puppet Coach)
Guy Simard (Lighting Designer)
Matthew Truscott (Leader)
Aidan Oliver (Chorus Director)
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| Alina Wunderlin (Queen of the Night) & Lauren Snouffer (Pamina) © Glyndebourne Productions Ltd/Bill Knight |
Paul Appleby (Tamino)
Ann Toomey (First Lady)
Corenna Scheurle (Second Lady)
Leia Lensing (Third Lady)
Rodion Pogossov (Papageno)
Alina Wunderlin (Queen of the Night)
Alasdair Elliott (Monostatos)
Lauren Snouffer (Pamina)
Oliver Barlow (First Boy)
Sam Jackman (Second Boy)
Oliver Hull (Third Boy)
Michael Kraus (Speaker)
James Platt (Sarastro)
John Findon (Second Priest, First Man in Armour)
Callum Thorpe (First Priest, Second Man in Armour)
Julieth Lozano Rolong (Papagena)
Parkey Abeyratne, Ashleigh Cheadle, Victor Itang, Yana Penrose, Gun Suen, Ben Thompson (Puppeteers)
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| Leia Lensing, Corinna Scheurle & Ann Toomey (Three Ladies) © Glyndebourne Productions Ltd/Bill Knight |
Glyndebourne Opera House, Glyndebourne
Wolfgang Amadeus Mozart (1756-1791): Die Zauberflöte
(libretto by Emanuel Schikaneder (1751-1812))
'Visually, the production is delightful'.
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| Puppeteers © Glyndebourne Productions Ltd/Bill Knight |
'As is often the way, Papageno frequently stole the show, with Rodion Pogossov delivering the comedy just the right side of pure slapstick, with plenty of deft sight gags, but convincing in his mischievously reluctant character. His direct baritone matched Paul Appleby's lyrical tenor well vocally, and they formed a great double act, contrasting the simple innocence of Appleby’s Tamino with Pogossov’s comic resistance'.
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| Rodion Pogossov (Papageno) © Glyndebourne Productions Ltd/Bill Knight |
'Alina Wunderlin was a dazzling Queen of the Night, with crystal accuracy and energy, but also capturing Barbe & Doucet’s intention to elicit some sympathy for the character, shifting away from the usual one-dimensional pantomime baddie'.
'Lauren Souffer's Pamina had more strength of character than is often the case, with warm, touching tones, and James Platt’s Sarastro had weight and depth of tone, as well as gravity in delivery'.
'As a visually joyful celebration focussing on the positives of Mozart’s magical music and a fairy-tale, Enlightenment triumph of truth over darkness, this certainly delivers, and strong performances throughout made for a convincing opening for this revival'.
Read my full review on Bachtrack here.
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