Michael Tanner

The ENO’s Magic Flute ignores everything that makes Mozart’s opera great

Someone should tell Simon McBurney, who made the Queen of the Night a cripple, that wheelchairs went out in the last millennium

Ben Johnson and Devon Guthrie (Photo: Robbie Jack) 
issue 16 November 2013

A new production of The Magic Flute is something to look forward to, if with apprehension. How many aspects of this protean masterpiece will it encompass, and how many will be neglected or distorted? The answer, in the case of Simon McBurney’s effort at the Coliseum, is that almost everything that contributes to the work’s greatness is ignored or reduced, so that an evening that should be spent in a state of growing elation merely induces irritation deepening to rage, with patches of life-draining boredom.

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