The Magic Flute can survive a range of interpretative styles, both musiical and dramatic, and is always popular at the Festival, even if it does seem to appear with remarkable frequency. Stéphane Braunschweig was recognised mainly as a theatre director, and Brian McMaster had already introduced him to the Festival in that context. This was the first occasion on which his operatic work had been seen in Britain, and with an unfamiliar cast of young performers it was overshadowed by the other operatic riches on display, with a wonderful array of star conductors and singers. These included Scottish Opera's Walküre and concert performances of Les Troyens, Idomeneo, St François d'Assise, Zoroastre, Three Sisters, Duke Bluebeard's Castle, Armida, and even more, so that is hardly surprising. On its own terms, and in spite of some musical weaknesses, it was a stimulating reading, in simple designs, modern-ish dress, and dominated by the delightful Papageno.
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