The Magic Flute in the Hotel Sacher

Canadian design/direction team Barbe & Doucet were engaged to create a new production of Mozart’s Die Zauberflöte at Glyndebourne in 2019. As they explain in the introductory feature The Making of the Magic, they had refused for 20 years to tackle this work because of what they saw as its inherent racism and sexism. Part of the interest therefore in watching this recording is to see whether and how they deal with those two issues.

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McVicar’s Entführung

I think I’ve got used to David McVicar productions or, at least, what he’s produced in the last ten years or so.  The director’s notes will sound erudite and convey the impression that he’s gained some vital new insight into a well known work.  The actual production on stage will be almost entirely conventional with maybe the odd visual flourish but nothing to start the synapses firing.  This is very much the case with his 2015 production of Die Entführung aus dem Serail from Glyndebourne.  The “big idea” is that Bassa Selim is caught between two worlds; the ‘west” and the “east”.  Well duh!  This is as revelatory as pointing out that Mimi has TB.  This “revelation” is the reason/excuse for presenting the work with dialogues unaltered and uncut.  This is very much a mixed blessing.  Yes, it does allow some character development that’s otherwise missing but on the other hand it emphasises the fact that without some interesting new angle Entführing is basically dramatically a bit feeble.  Is she faithful?  How dare he doubt it?  Please forgive me.  Why should I?  Lather, rinse, repeat.  Enter Osmin.  Hang them.  Impale them. Daggers and poison.  Over and over.

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