London Coliseum, Thursday 14 March 2019

There is nothing routine about this third revival of Simon McBurney’s approach to The Magic Flute. Not only does the production work as smoothly as ever, no small thing in itself given the complexity of the stage movement and video design, but the cast is fresh and appealing.

One of the benefits of a large cast is that it can bring on younger singers and ENO makes this into a real strength.

Tenor Rupert Charlesworth is a charming Tamino. He has a gaucheness in his manner which speaks of his youth and lack of experience, but also his genuine willingness to learn. His voice copes admirably with the long lines while his diction impresses. Lucy Crowe’s Pamina may be more familiar but is none the less making a welcome return to a part which she inhabits both vocally and physically.

Julia Bauer made her house debut as the Queen of the Night but it is a role she has sung frequently before as was obvious from the confidence with which she threw off Mozart’s coloratura. Brindley Sherratt’s Sarastro is new to this production though he has sung the role in an earlier version. He brings weight and authority to the part but also a genuine warmth and, at times, humour.

Thomas Oliemans returns as Papageno and is entirely at ease within the occasional eccentricities of the production, to say nothing of the obligatory set of steps he carries around.

The many silent actors are always aptly used, particularly the magnificent birds, and move alongside the chorus with commendable ease.

The pit is once again raised, which I think improves the acoustic, as well as allowing easy movement between the orchestra and the stage. Conductor Ben Gernon, making his house debut, lifted the score with commendable ease and fluency. He is certainly one to watch.

Sitting alongside the new Merry Widow the season at present seems to be running very well.