The Magic Flute – Leeds Grand Theatre

Music: Wolfgang Amadeus Mozart

Libretto: Emanuel Schikaneder

English version: Jeremy Sams

Conductor: Patrick Lange

Director: James Brining

This version ofThe Magic Fluteby Opera North received a five-star review back in the Autumn season; now it returns, with only one of the five principal players still in place. Emyr Wyn Jones remains the perfect Papageno, good-hearted if a slave to his appetites. His inspired clowning sets up two wonderful second-act scenes with the splendid (silent) chorus of children who supplement the three boys who Mozart specified and who, incidentally, are unfailingly excellent. Wyn Jones’ by-play with the assembled children for Ein Madchen oder Weibschen is only surpassed by the wit and sheer joy of Pa-pa-pagena with the delightful Pasquale Orchard as Papagena.

The newcomer to make the biggest impact was conductor Patrick Lange, widely experienced in Germany and Austria, but a first-timer at Leeds. He takes the overture at a speed we aren’t used to, with the orchestra producing an exhilarating start to the evening. Now and again he again presses the accelerator (notably in the introduction to Act 2), but generally he settles for more moderate tempi, though there is no lack of orchestral excitement.

It probably had nothing to do with Lange’s tempi, but Act 1, on opening night, had its moments of imprecision; Act 2, on the other hand, was a total delight.

The four newcomers to the cast are all excellent; any comparisons with their predecessors would be ill-judged. Soraya Mafi makes the most of her beautiful voice as Pamina, floating notes delicately. As her mother, The Queen of the Night, Nazan Fikret displays the opposite side of soprano artistry, nailing the stratospheric demands of the part with edgy coloratura (blame it on Mozart’s sister-in-law, the original Queen, and her “extraordinary vocal range”). Perhaps lacking a touch of presence, she delivers the two great arias with classic authority.

All the newcomers are more or less Opera North debutants. Justin Hopkins, with three telling performances of the Hobo inLove Lifebehind him, brings dignified stillness and a rich bass baritone to the part of Sarastro. Trystan Llyr Griffiths begins a little stiffly as Tamino, but soon relaxes into the part, displaying a fine tenor voice.

Of those returning, the Three Ladies, Charlie Drummond, Katie Sharpe and Hazel Croft, with their light-sabres, are a much fun as ever while still contributing moments of drama, even fear. That is the essence of James Brining’s production: fun, plus a seriousness that goes beyond Mozart. Mozart and Schikaneder, as good Masons, believed in the equality of all men; Brining’s clever twist at the end poses the question, “What about women?”. Brining has contributed several memorable musicals at Leeds Playhouse with Opera North; it’s to be hoped that his recent move to Edinburgh will not bring an end to his thoughtful productions.

Runs until 22nd February, before touring