Director
Mozart’s last opera recounts the trials and tribulations of two opposing yet complementary young couples - Tamino and Pamina and Papageno and Papagena - who, in their search for love, journey through darkness to reach light and happiness. Who doesn’t have memories of their time at school - a place of new discoveries, encounters with authority and perhaps the odd day dream at the back of the class? The Royal College of Music’s new production sets The Magic Flute in a secondary school and a dreamscape of hidden desires. As director Polly Graham explains in our Insights, this is the perfect backdrop for protagonists who are ‘on the cusp of sexual awakening, grappling with big intellectual ideas, and at a place in their lives where things happen for the first time, and where interactions with adults can be fraught.’ Michael Rosewell conducts a wealth of young talent on stage and in the pit - all not so long out of school themselves.
Director
A magic potion becomes both a blessing and a curse for two young people. Tristan is about to bring the Irish princess Iseult to Cornwall where she is to marry his uncle. A love potion has been prepared to get the arranged marriage off to a happy start. But when Iseult’s chambermaid pours it into the goblets of her mistress and the Cornish knight, they cannot hide their feelings, even if their love means treason to the crown. Sweet compassion instead of ecstatic love: Frank Martin’s Le vin herbé offers a new interpretation of the tale of Tristan and Iseult, which goes beyond Wagnerian pathos. Tom Randle and Caitlin Hulcup embody the fatal lovers in this production by Welsh National Opera.
