<<<  <<  -- 4 --  Howard Smith    UNWAVERING CONCENTRATION

For one thing Ponelle remains onstage throughout and he occasionally intervenes; enabling himself and Boesch to explain operatic terms and requirements -- why use music, the conductor's purpose, a 'coloratura aria' and the like. At one point Ponelle interrupts (wearing a false nose) prompting an exchange that illustrates the director's role.

Among Ponelle's several deft touches the 'drei knaben' -- boys from Gerhard Schmidt-Gaden's (Munich-based) 'Tölzer Knabenchor' -- turn up as three little lookalike Mozarts [watch and listen -- chapter 30, 75:29-76:37].

The multi-function 'Felsenreitschule' stage enabled Ponelle the freedom to manouvre his characters freely, to introduce sets with ease, and to employ effects as required.

Those expecting an uninterrupted Magic Flute with children as spectators should look elsewhere -- that was never the intention. Those hoping to engage the interest of very small English-speaking children should proceed with caution for while the visual interest is strong, an ability to read the subtitles is -- for practical purposes -- mandatory.

The Ponelle-Boesch production may also serve as a primer for interested adults who've little more than a nodding acquaintance with opera and/or The Magic Flute.

Unquestionably a very special production for very special audiences.

For help listening to the sound extracts here, please refer to our questions & answers page.