The Magic Flute

Mozart is an ideal vehicle for developing voices, so The Magic Flute was a good choice for Gertrude Opera, which utilises students from the Opera Studio. This was also a cut-down version to put less strain on young voices and eliminate the need for a chorus.

Innovation took the place of expensive props, and I liked the opening where we had a cut-out dragon projected on to the back wall. The production was well-directed with use being made of the front box for Sarastro and a door to the orchestra pit for Papageno and Pamina.

In a cast which included a few professionals, the outstanding performance for me was from student Eugene Raggio as a delightful Papageno. This was lovely warm Mozart singing and I can imagine him as a very good Figaro. He has an engaging personality and just needs to find some more pathos in the suicide aria.

Juan Enrique Guzman’s light tenor was well suited to Tamino while Alexandra Ioan was an attractive Pamina. Joelene Griffith had the voice for the Queen of the Night and her characterisation will develop. Damien Noyce was a strong Monostatos and Alissa Andreaski a delightful Papagena.

As Sarastro, David Gould had one of his arias cut, but appeared to confuse Mozart with Verdi. I felt more restraint would have given the character more nobility, but he has a good solid bass voice.

There was some lovely harmony singing from the Three Ladies and the Three Sprites, all the voices being well balanced. Sometimes they sang some of the chorus parts that weren’t cut.

The small orchestra acquitted itself well, though it did lose touch with the singers a couple of times. The costumes were colourful and the makeup magical. This is a delightful production and well worth seeing for the entertainment value and to see some of Melbourne’s lesser known up and coming talent.

Graham Ford

Images: Rhiannon Stevens, Tamzyn Alexander and Alexandra Lidgerwood (Three Spirits) & Juan Enrique Guzman and Alexandra Ioan (Tamino and Pamina).