The 1978 production of Mozart's masterpiece by August Everding continues to draw crowds to the Bayerische Staatsoper, and the reasons are clear: Everding’s unapologetic commitment to Schikaneder’s libretto and stage directions transforms the opera into a captivating and enchanting experience. The story is presented primarily as a fairy tale, which is its essence, while allowing the philosophical elements to take a subtle backseat. These deeper themes are distilled into moral reflections, emphasised cleverly by lighting the theatre as though the singers were addressing the audience directly. The production also pays exceptional attention to the human qualities of the characters, who come across as genuine individuals rather than mere symbols.
Overall, this production is clearly designed with children and tweens in mind – corny and charming in equal measure. Children made up at least half of the audience, including some pre-schoolers. They sat attentively with minimal noise, thoroughly captivated by Papageno’s antics, laughing at his jokes and delighting in the actors dressed as animals. Their enthusiasm was evident in the way they applauded whenever the orchestra paused, regardless of the reason. It was a truly heartwarming experience.
The production was revived in 2004 by Helmut Lehberger, who oversaw the meticulous repair of costumes and restoration of sets, for a stunning result. Jürgen Röse’s design features fabric backdrops and intricately detailed stage sets. The realm of darkness is characterised by jagged rocks, a starry night sky and a massive moon showcasing the iconic silhouette of the Queen of the Night. In contrast, Sarastro’s realm is portrayed with neo-classical elements, featuring men dressed in 18th-century bourgeois attire and bathed in a soft, radiant light from the background whenever Sarastro is celebrated.
Nikolaj Szeps-Znaider conducted the Bayerische Staatsorchester in a dynamic and engaging performance. The overture was brilliant – fast but controlled – allowing the orchestra to showcase their deep understanding of Mozart’s score. Throughout the performance, Szeps-Znaider often opted for brisk tempi, driving the music with authority but occasionally rushing the singers, as though urging them into a race. This was particularly noticeable in the two quintets (Tamino-Papageno-Three Ladies), where the exquisite orchestration and polyphony might have benefited from a more measured and reflective approach. There were also minor missteps that appeared to stem more from limited rehearsal time than any fault of the conductor or performers. Despite this, the music flowed with grace and maintained a lively, well-paced rhythm.
Pamina was performed by Louise Alder, stepping in for the unwell Ying Fang. Alder’s lyric soprano was rich and resonant, with excellent projection and secure high notes. Her portrayal was intense and convincing, though it lacked some of the sweetness and melancholy often associated with Pamina. However, her delicate filati were undeniably beautiful. Giovanni Sala delivered a compelling Tamino, his high tenor marked by an intense timbre that leaned toward the darker side but retained a lovely mezza voce. His portrayal gave us a heroic Prince, tender in love and resolute in his commitment to the cult.
Another substitution impacted the role of the Queen of the Night, with Alina Wunderlin stepping in for the ailing Jessica Pratt. Wunderlin delivered a confident performance, showcasing a beautiful, powerful soprano. Her coloratura was dazzlingly precise, and her super-high notes were both strong and well-placed. She radiated authority, with a mature interpretation and impeccable Mozartian style. Particularly noteworthy was her exceptional breath technique, which lent elegance to her legato in the more melancholic passages.
Konstantin Krimmel brought Papageno to life with a warm, pleasing baritone, effortlessly navigating the higher notes with solid technique and no sign of strain in the passaggio. His comic timing was impeccable, creating a genuinely funny portrayal without compromising the purity and precision of his vocal delivery. Sarastro was performed by Tareq Nazmi, whose deep, resonant bass suited the role perfectly. His rendition of “O Isis und Osiris” was outstanding, characterised by a smooth, elegant legato supported by impeccable breath control, with a timbre that was both soothing and authoritative. However, his second-act aria, “In diesen heil’gen Hallen,” was slightly less successful, as he appeared to momentarily lose focus on the melodic line.
The Three Ladies – Erika Baikoff, Emily Sierra, and Avery Amereau – were a standout highlight of the performance. Their voices blended beautifully, always singing with cohesion and mutual support. Amereau particularly shone, her distinctive contralto providing a rich, grounding bass foundation to their harmonies. Kevin Conners gave a spirited portrayal of Monostatos, his high, light tenor projected with clarity and precision. He seemed to relish embodying the sinister, scheming nature of the character, adding a vivid theatrical flair to the performance.
The afternoon was a tremendous success, the audience, as always, delighted by the final duet between Papageno and Papagena (soprano Seonwoo Lee). May Papageno and Papagena carry their children off stage on their cart for many years to come.
