Down The Rabbit Hole Of The Magic Flute

One of Mozart's last and undeniably lasting works, the State Opera of South Australia will open their 2016 with 'The Magic Flute' – in English.

One of the most popular operas, it is a perfect entry point into the new year. Performing for the first time as part of the Adelaide Fringe Festival, the production boasts new sets, costumes, lighting and an all-local cast.

A possible world first, SA Opera’s 'The Magic Flute' will be staged in a Masonic Temple – the Adelaide Freemason's Hall. Director and designer David Lampard explains the significance of the venue: “‘The Magic Flute' has a whole stack of Masonic ideas threaded through it. Mozart was a Freemason, the librettist was also a Freemason – they were colluding.

“What I’ve done is designed it so that it takes elements of Freemasonry – and they are within the story – the costuming and the set design (which I’m absolutely playing with) and hopefully heightening and resonating them. Given that we’re going into this environment where you’re surrounded by Masonic elements.”

David Lampard

Freemasonry aside, the costuming and design choices for the upcoming production are remarkable, with no shortage of LED lighting. David’s inspiration and vision for 'The Magic Flute' is rooted in the protagonist’s journey. “What I found interesting is that there is a lot of misogyny present within the piece; right up until Mozart makes the point and says ‘this is ridiculous, we need to be equal’. So that’s the jumping off point I found for the story and the design which still resonates with our society today.

“We put it into a 1950s-esque beginning. Tamino, who is the male lead, finds himself working in a 1950s gentlemen’s club. He is surrounded by these very misogynistic men and he wants to escape this environment, but he’s not sure how and basically we go down the rabbit hole…

“The whole thing happens beneath the solar eclipse, which we stage. As we enter the world of 'The Magic Flute' the costuming enters this kind of vintage fantasy. There is a whole stack of different shades in Mozart’s piece so that you’re never very far away from a real turning point. We designed the second act like a labyrinth, and I kind of feel that the music is like a labyrinth. Every time you turn a corner, you find something new. That's what I really like about the music of this piece and the way it’s been structured.”

Some may object to the choice to perform an English version of the opera, but David argues there is a place for both. “Sung German is beautiful but I absolutely believe there is always room for singing in English. I find it fascinating when you go to the opera and you’ll be reading a surtitle and the joke will either happen before or after the actor has sung it on stage! And that’s fine, it’s great, it works. But when it’s sung in English there is a different sense of immediacy, a difference sense of connection of music with text. It just so happens that this time we’re looking at doing it with the English translation. And it’s a choice. One that works with this production.”

Hesitant about opera? With an extensive background in psychology, opera, musical theatre, rock, television and film, David understands people’s doubts better than most. “If it’s presented as this stereotypical fat people singing there is no incentive to draw people in. Once upon a time opera used to be about big voices and standing still and singing a song. Park and bark – sing it loud, get off, chorus comes on... But it's so not that anymore. Opera is evolving and becoming much more filmic and story-driven. As much about the acting as it is about the incredible feats that the opera singers perform with their voices.

“I think anyone who enjoys live theatre or movies is going to enjoy opera. Not necessarily every opera – like movies, it really depends on your choice. Just give it a go! If the music appeals, come see it on stage because I can guarantee it’s 3,000 times better when you see it on stage. Good opera is an amazing emotional experience. You’re getting something which is visually exciting, it is emotionally exciting, it’s exciting for the ears – it’s just a whole experience.”

'The Magic Flute' performs Freemason's Great Hall 18-24 February as part of Adelaide Fringe Festival which runs 12 February – 14 March.