Mozart: Die Zauberflote (Opus Arte: OABD7099D) [Blu-ray] [2012]

I think the mark of Mozart's genius in the composition of his strange and still enigmatic final opera is pretty much agreed upon by most critics and its popularity as one of the most performed works in the repertory deservedly still endures, but in terms of presentation on the stage, Die Zauberflöte still represents a challenge that has perhaps been neglected in recent times by the major modern revisionist directors in favour of finding new ways to explore the Mozart/Da Ponte trilogy of works - The Marriage of Figaro, Don Giovanni and Così Fan Tutte. The stage director for this production of Die Zauberflöte at the Teatro alla Scala in Milan may not have any new ideas about the opera's central theme of light versus darkness being that of man seeking to rise above their baser natures and impulses, seeking enlightenment over obscurantism, or rationalism over superstition, but as an artist, illustrator and animator South African director William Kentridge does at least approach these themes with a very distinct style of his own.

The period setting chosen appears to be late 19th century, the beginning of the age of technological advancement, the characters dressed to looking like figures from a Jules Verne or a H.G Wells novel. At the centre of these scientific advances in this production is the camera, a box that in itself represents the use of light - the ingenuity of man - to forge something out of the darkness, much as Mozart uses the music of the magic flute for the same purpose. Within the box of the stage, Kentridge uses shadows and light in a variety of ways that fits in well with this theme, as well as often being visually very striking. Thus, in the opening of Act 1, Tamino battles with a snake that is a projection created by the three ladies of the Queen of the Night, who form it out of the shadowplay of their arms. So right from the outset, Tamino literally defeats a shadow of the forces of darkness, working effectively and in keeping with a meaningful overall concept. Elsewhere, through black-and-white reversal charcoal designs, animation and even some silent movie footage Kentridge finds a variety of means to illustrate the journey and trials of the protagonists, their acquisition of wisdom and knowledge, as well as reflect the symbolism, numerology and the Masonic imagery that is associated with the themes of the opera.

The orchestration here sounds somewhat lifeless, and no-one on the stage - with the exception of Alex Exposito's Papageno, looks like they are having much fun with what should be a delightfully invigorating work. I'm presuming that the arrangement used here by Ronald Böer is period - or more likely semi-period for La Scala - but it feels like there is a distinct lack of verve in the playing and the performances. In a good interview in the extra features, Böer recognises that Die Zauberflöte contains all the different facets of Mozart's work, but the complex personality of Mozart himself is in there too, reflected in each of the characters, and that doesn't always come across here. Tamino can be a difficult role to breathe any life into, but you don't necessarily need to - the character's (and Mozart's) purity, youthful idealism and single-minded determination (yet one that is open to new ideas and a sense of betterment) is all there in the music and Saimir Pirgu sings it beautifully. So too does Genia Kühmeier's Pamina represent the other side of that nature with a similar clear purity of voice - her 'Ach, ich fühl's' is one of the loveliest I've heard. Alex Exposito is the only figure who demonstrates any kind of life and personality, and he sings Papageno well with clear diction. Where Die Zauberflöte really needs character however, a sense of grandness and imperiousness to give depth and gravity to the work, is in the opposing forces of Sarastro and the Queen of the Night, and unfortunately, neither Albina Shagimuratova nor Günther Groissböck are entirely up to the task.

All in all however, if it's a little dryly performed and lacking a little bit of spark, this is nonetheless a strong performance of Die Zauberflöte that manages to take a fresh approach to the score and the themes of the work. It's certainly worthwhile for William Kentridge's unique approach to production design that makes this never anything less than a rich and imaginative spectacle. The Blu-ray is of the usual high video and audio standards, with extra features consisting of a Cast Gallery and a very interesting twelve-minute Interview with the director and conductor. Region-free, BD50, 1080i, PCM Stereo and DTS HD-Master Audio 5.1, German language with English, French, German, Spanish and Italian subtitles.

I have some reservations on the black and white back screeings that are added to the bland staging. It is not a patch on the fantasic work done for the Spanish Ring and seemed out of place with the colourful costumes. This is a well sung and acted Flute and I enjoyed it just as much as the Covent Garden production but there are other better Flutes out there and hopefully they will make it to Blu-ray soon. In the meantime either of these are acceptable but not definitive.

If I was recommending a version for a first-time viewer, this would not be the one I chose. It lacks the costumes and sets that make this opera magical. However, this is my 28th version of the opera that I have on DVD and I enjoyed immensely. It is a unique way of presenting the opera. It is well sung. I liked that the three boys, although female, looked like boys. I'm not sure why they keep using women for the boys. There must be lots of well-trained boys available. The Queen of the Night was dressed very dowdy, not a magical queen at all. Also, they didn't try to disguise Papagena's face as an old woman.

I found it a bit disconcerting that when they were singing of brotherhood of man, they showed two hunters shooting and killing a rhinoceros, hardly a loving thing to do!

This is one of those versions where they have tried everything else, so why not something completely different!