Rahvusooper Estonia’s Võluflööt: A Magical Journey with Some Dim Corners
- Arashk Azizi
- Jun 13
- 4 min read
I recently attended Rahvusooper Estonia's Võluflööt (The Magic Flute) by W.A. Mozart, and it was, as always, a musical and theatrical highlight in the heart of Tallinn. Yes—the one with the famously challenging “Queen of the Night” aria that continues to captivate audiences and challenge sopranos. The performance offered a delightful experience with top-tier music direction by Arvo Volmer, stunning costumes, and dedicated vocal performances. However, not every element shone equally bright—particularly the set design, which felt somewhat underdeveloped compared to the symbolic richness of the opera itself.
The Opera: History, Symbolism, and Controversy
Premiered in 1791 at Vienna’s Freihaus-Theater auf der Wieden, Die Zauberflöte (The Magic Flute) was one of Mozart’s final works, composed just weeks before his untimely death. A Singspiel—a form blending spoken dialogue with arias—it was created in collaboration with librettist Emanuel Schikaneder, who also played Papageno in the original production.
The opera reflects many of Mozart’s personal and philosophical interests. He was a Freemason, and the work is rich with Masonic symbolism: the number three appears throughout (three temples, three trials, three boys), and the themes of enlightenment, wisdom, and brotherhood echo Masonic ideals.
Yet the opera has also drawn criticism, especially for its misogynistic undertones. While the Queen of the Night is given two dazzling arias, she’s ultimately cast as a villain, and the female characters are often positioned as emotional or manipulative compared to their calm, rational male counterparts.
Despite (or perhaps because of) its contradictions, The Magic Flute has remained one of the most beloved operas of all time. As Richard Wagner once said, “Die Zauberflöte is the apotheosis of German popular art.” Gustav Mahler described it as “the ideal of a people’s opera.”
The Orchestra: Delicate Precision Under Arvo Volmer
Mozart is deceptively difficult to perform. As a pianist myself, I often find his music to be the most transparent—there’s nowhere to hide. Every note counts. The textures may be simple on the surface, but the underlying structure is incredibly complex.
Rahvusooper Estonia’s orchestra, conducted by Arvo Volmer, handled this challenge with remarkable clarity and energy. The balance between sections was sensitive, and phrasing throughout was elegant. A small but important critique: I was slightly disappointed by the use of a digital keyboard for the magical bells in Papageno’s sections. It lacked the charm and sparkle of a real glockenspiel or celesta.
On a brighter note, the flute and piccolo, central to this opera, were played flawlessly. Their interaction with the singers brought out the whimsical and sacred aspects of the score alike.
The Singers: Voices That Carried the Story
The Queen of the Night
The role of the Queen was performed by Finnish soprano Marjukka Tepponen. Performing this part requires extraordinary vocal agility, particularly for the second aria “Der Hölle Rache,” with its infamous high Fs. Though there were a few slight shortcomings in the upper register, Tepponen delivered an overall powerful and convincing performance.
Tamino
The role of Tamino was wonderfully sung and even more beautifully acted. The singer brought emotional range and subtlety to both his vocal and theatrical delivery, making the prince’s journey through trials feel honest and compelling.
Papageno
Papageno was a standout. His combination of rich baritone voice and impeccable comic timing made the character loveable and vibrant. His chemistry with Pamina and the audience alike was magnetic, and the humor never felt forced.
Unfortunately, I didn't find the complete cast list (my bad), but the overall vocal quality of the ensemble was excellent and well-matched to Mozart’s demanding but rewarding score.
Costumes and Set Design: Hits and Misses
The costume design was a visual treat—bold, exaggerated, witty, and completely in line with the spirit of Mozart. Each character had a distinct visual identity that supported their role and energy on stage. In this area, the production shone.
However, the set design fell short in comparison. The Magic Flute is an opera deeply rooted in symbolism, particularly with the recurring number three that represents Masonic ideals. In past productions, I’ve seen this visualized in architectural elements, stage symmetry, and even lighting. In this case, the symbolism felt underused or random.
That is not to say it was bad, maybe there were many signs that I just didn't get with one attendance to the performance, but I know there were little clever designs: one visually stunning moment was when Tamino looked at the Queen of the Night’s daughter’s portrait and a beam of light from the image illuminated his face. It reminded me of the mysterious briefcase in Tarantino’s Pulp Fiction—a striking use of minimalism to suggest something otherworldly and precious. That single image lingered with me long after the curtain fell.
Final Thoughts
Rahvusooper Estonia’s Võluflööt succeeded in many ways: it showcased exceptional musicianship, strong singing, and beautiful costuming—all in service of Mozart’s whimsical yet profound tale. While the set design didn’t fully match the richness of the opera’s themes, the production overall was enchanting and thoughtfully executed.
It’s always a pleasure to see The Magic Flute, especially when it’s performed with such love and care. I left the theatre reminded of Mozart’s genius—and of how, even centuries later, his magic still lives on.
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