Glyndebourne On Tour opens its season with Adrian Noble's 2004 production of Mozart's philosophical comedy revived by Frederic Wake-Walker. Neither of them is to blame for the fact that some of the original show's genuinely magical elements have been downsized for touring purposes. The balloon carrying the Three Boys has gone, the monstrous serpent seems to have shrunk, and
the trials by fire and water are an inchoate mess.
The visuals are not the only element short-changed. Conductor Douglas Boyd keeps the textures light and airy, but his foot is on the accelerator all evening. The damage comes with the slower, more serious elements of the score, which lack gravitas. Sarastro and his priestly fraternity may be viewed as suspiciously authoritarian these days, but no one suggests they are fooling around. Racing through their music robs them of an essential weighty dignity.
Still, the sheer colour of Anthony Ward's oriental designs remains a delight, and many of the cast more than earn their keep. Ana James's Pamina is sung with immaculate control and considerable artistry, though physically she is a little stiff. As Tamino, Lothar Odinius's bright, forward tone shows heldentenor potential, and he is a game player on stage. Daniel Schmutzhard is a winning Papageno, delivering his songs with easy charm and engaging confidently with the comic routines. Carlo Malinverno lacks physical maturity as Sarastro but his highly individual bass is moving.
Less successful is Mari Moriya's Queen of the Night. She has to sing the highest notes composed for soprano voice in the standard repertoire, and though pitching them even higher than the ones Mozart wrote is some sort of achievement, it is not what is called for. Dramatically, she fails to hit the necessary combination of glamour and malice. A mixed evening.
