Review: TROLLFLÖJTEN/THE MAGIC FLUTE at Folkoperan

Stadsteatern is currently showing the play Amadeus, which is mainly about the royalcomposer Antonio Salieri, who recognizes Mozart's musical genius but is jealous and opposes him in every way. The Magic Flute (written in 1791) is included in the plot as the folk opera written by Mozart which was not liked by the court because it was too simple and folk and also included a temple order which was felt as a betrayal by the Freemasons that he revealed their secret rituals. Salieri succeeded in opposing Mozart, but his divine punishment was that his own music was forgotten while Mozart's operas are still performed around the world.

The Magic Flute is an opera for the people and thus perfect for Folkoperan to stage. Time-wise, perfect when you can first get a little background to it at the Stadsteatern and then enjoy it in its entirety here at Folkoperan and in Swedish.

As far as I can remember, I have never seen The Magic Flute on stage and until today was not fully aware of the plot itself. As it is in Swedish, it is much easier to absorb the entire plot. It is fantastic to have the famous Queen of the Night's Aria in its proper context and very beautifully and emotionally performed by Karolina Andersson.

When you enter the salon, you are greeted by a large birdcage-like steel structure in the middle of the stage. A cage, the walls of which then fold in and out to create everything from a room where Princess Pamina (Clarice Granada) is held prisoner by Templar Sarastro (Johan Schinkler) to a fund for a palace/temple castle. The feeling in the room changes according to how they fold in and out the walls. Lighting and visual effects, such as birds, lions, fire and water, are projected onto the walls and heighten the drama. On a couple of occasions it takes a little long to rearrange the walls, but overall it's a clean, stylish scenography.

It's a high quality ensemble in which some who are part of the Folkoperan's talent program has been choosen for major roles and they impress highly, as well at the others do. Endre Aaberge Dahl (Prince Tamino) and Minna Tägil (Papagena) are a couple who are in the talent show. Clarice Granado, Karolina Andersson and Johan Schinkler are all a joy to listen to with their fantastic operatic voices. They are extremely well-articulated, which is appreciated by a slightly above average opera goer. Tonight I could understand pretty much every word they sang and thus be able to fully focus on what is happening on stage. Anton Lundqvist is cut and dry in the role of Papageno. His acting and comic timing is absolutely brilliant. Anton's more musical way of singing fits well into the role of the free and easy-going Papageno.

Musically, the Magic Flute has aged well and it is a pleasure to hear the fine music well performed by the orchestra. The view of women that seeps through here and there, however, feels rather outdated.

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