Chris O’Rourke, Theatre Critic for The Examiner

“a wonderfully charming and deeply engaging production.”

“Keogan’s lighting design was a masterclass in both mood and precision.”

“The orchestra too were outstanding and under conductor Andrew Synnott’s careful guidance brought Mozart’s classic music to life.”

“Set design by Natasha Bertram, Damien Crean, Bridget Ní Dhuinn Belcher and Eimear Noctor was meticulously realised, perfectly capturing the grubbiness of a high school canteen and showing impeccable attention to detail.”

“Costume design by Amy Gillen was also first class, with make-up and hair design by Yasmin Archer and Hanna Dobson rounding out some wonderful physical characterisations.”

“Throughout, characters were wonderfully realised and the entire young cast were vocally strong.”

“Sopranos Lorna Breen and Clodagh Kinsella, along with mezzo-soprano Niamh O’Sullivan as the three ladies were a sheer delight. Sopranos Kate Millet, Katie O’Donohue and mezzo-soprano Carla Snow as the three skater youths were equally delightful.”

“Bass baritone Robert McAllister’s Sarastro and tenor Callan Coughlan’s Monostatos were equally strong, as were baritone Peter Manning’s hapless Papageno and tenor Andrew Gavin’s goodly Tamino.”

“Supporting cast of tenors Ben Escorcio, Philip Keegan and James McCreanor as Sarastro’s slaves were equally engaging, as was soprano Dana Tanase as Papagena and baritone Tim Shaffrey as the First Priest.”

“Soprano Corina Ignat as the Queen of the Night was particularly strong, giving a wonderful rendition of the iconic aria ‘Der Hölle Rache kocht in meinem Herzen,’ and Soprano Sarah Brady as the lovelorn Pamina was outstanding with her powerful aria ‘Ach, ich fühl’s, es ist verschwunden’ being particularly memorable.”

Queen of the Night
Corina Ignat as the Queen of the Night

“Die Zauberflöte possesses a palpable synergy, with its various components harmoniously gelling together to wonderful effect, against which many productions will pale in comparison.”

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