Artistic Director and Conductor Dane Lam is at the creative helm of a landmark international co-production of Mozart’s The Magic Flute that unites State Opera South Australia with partners in Hong Kong and Beijing. In this interview, Lam shares insights on melding diverse artistic traditions, collaborating with director Shuang Zou, and how this fresh reinvention speaks powerfully to new and seasoned audiences alike. His dual role highlights a vibrant artistic vision that respects opera’s heritage while embracing a bold global outlook through the company’s Opera Without Borders initiative.
ARTISTIC DIRECTOR HAT
Dane Lam, you wear two hats for State Opera of South Australia and my questions relate to each. Starting firstly with the Artistic Director hat, how did this co-production with Opera Hong Kong and the Beijing Music Festival come about?
This co-production emerged from conversations between Opera Hong Kong, Beijing Music Festival and State Opera South Australia — three organisations eager to explore fresh artistic exchange and expand the reach of opera across the Asia-Pacific. It was a natural alignment of vision and opportunity.
Can you talk about the collaborative process with Chinese director Shuang Zou?
Shuang brings a cinematic sensibility and a distinctive visual language to the work. Our collaboration was built on mutual trust and a shared desire to reimagine The Magic Flute in a bold new way that resonates across cultures.
Why did you decide to stage The Magic Flute?
The Magic Flute is many people’s first opera — and for good reason. It’s entertaining, uplifting, deeply philosophical and filled with unforgettable music. We wanted to create a production that embraced those qualities while speaking to contemporary audiences.
How do you hope this production will resonate with contemporary audiences, particularly those new to opera?
This staging feels fresh, visually dynamic, and emotionally accessible. The Hong Kong season attracted many first-time opera-goers, and we’re excited to offer Adelaide audiences that same sense of discovery and delight.
Similarly, how does this production embody your Opera Without Borders initiative, aiming to make opera more accessible and globally resonant?
Opera Without Borders is about making opera open to all — culturally, geographically and artistically. This project reflects that by uniting artists and audiences across three countries, blending traditions and embracing new aesthetics without compromising artistic rigour.
How has your artistic vision evolved since taking on the role of Artistic Director at State Opera South Australia?
I’ve become even more passionate about telling universal stories through a local lens — and ensuring that our stages reflect the global world we live in. We’re building bridges, not walls, and expanding who gets to see themselves in opera.
CONDUCTING HAT
Moving now to your conducting hat: What excites you most about conducting The Magic Flute, and how do you approach Mozart’s unique blend of comedy, drama, and philosophy in this work?
There’s nothing like Mozart’s balance of levity and depth. As a conductor, it’s a joy to guide the orchestra through those contrasts — keeping the sparkle alive while never losing sight of the opera’s moral and emotional gravity.
How do you balance the technical demands of the score with the need to support the singers and the dramatic intent of the production?
Mozart requires precision and lightness — but also generosity. My job is to shape the music so that it supports the singers and aligns with the director’s vision, while maintaining the elegant architecture of the score.
Are there any particular international influences or traditions that inform your interpretation of this opera?
Absolutely — I draw on European performance traditions, particularly those from Vienna and Berlin. But I’m also informed by our Asia-Pacific context, which encourages a broader, more flexible perspective on how opera can evolve.
How do you collaborate with the director and cast to bring out the story’s magic and humour while respecting its deeper themes?
It’s a continual dialogue. Shuang and I worked closely from the start to ensure that the production’s pacing and tone served both the comedy and the symbolism. That synergy continues through rehearsals with the cast and orchestra.
What are the biggest challenges in preparing the orchestra for The Magic Flute, especially in terms of pacing and style?
One of the great joys — and challenges — is maintaining the opera’s momentum. The pacing must feel effortless while keeping the transitions between music and spoken dialogue seamless and organic.
Do you incorporate any insights from European performance traditions in your approach to this opera?
Yes, especially in matters of phrasing, articulation and ornamentation. But I also believe that traditions should inform, not limit us. Each performance should respond to the time, place, and people involved.
There are some surprising French links in The Magic Flute… How much do the inspirations or sources used in writing the score and libretto influence your interpretation?
Knowing the Enlightenment context — including French literary and Masonic influences — certainly deepens my understanding. It enriches how we approach the rituals, trials, and symbolism embedded in the score and story.
Are there any specific moments in the score that you find especially rewarding or challenging to conduct?
The Queen of the Night’s arias are thrilling to conduct — sheer technical brilliance. But the Act 2 finale, with its layers of moral resolution and harmonic splendour, is equally rewarding.
How do you ensure that the Singspiel elements — spoken dialogue and music — flow seamlessly for the audience?
That’s where timing and mutual trust between the cast and conductor are key. We work closely to make transitions feel natural, never jarring, so that the audience stays immersed in the world.
What do you hope the audience will experience or feel during the performance?
I hope they feel transported — emotionally, visually, spiritually. At its best, opera opens your heart while dazzling your senses. This Magic Flute aims to do exactly that.
What has it meant for State Opera South Australia to be part of such a significant international co-production between Australian and Chinese opera institutions?
It’s a milestone for us. It demonstrates that State Opera can operate on the global stage, and that meaningful artistic partnerships are not constrained by geography.
How does this collaboration between Australian and Chinese opera institutions shape the artistic vision and execution of The Magic Flute?
It brings new visual languages, cultural perspectives and working methodologies into the room. That diversity has made the production richer, more layered, and more relevant.
What are some of the challenges and rewards of working across different cultures and languages in a co-production of this scale?
There are always logistical hurdles — time zones, translation, rehearsal logistics — but the rewards far outweigh them. You gain fresh insights and build lasting connections across borders.
How do you hope audiences in Adelaide, Hong Kong, and Beijing will respond differently to this production, and what do you hope they will take away from it?
Each city brings its own cultural lens, but the heart of the story — love, wisdom, transformation — is universal. I hope each audience sees something of themselves in this production of The Magic Flute.
The production debuted in Hong Kong a few months ago. Have any changes been made to it since its debut?
We’ve adapted some elements to suit the new venue and local cast members. That’s the beauty of opera — each season is a living thing, refined by each new context.
How do you see this co-production contributing to the broader mission of ‘Opera Without Borders’ and the company’s global outlook?
It’s a perfect expression of that mission. We’re showing that opera can speak across languages, cultures, and generations — and that State Opera South Australia is proud to lead that conversation.
Anything else?
Only that this Magic Flute is for everyone — opera newcomers, purists, kids and grandparents. We’ve poured our hearts into it, and we can’t wait to share it with Adelaide.
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We thank Dane Lam for this interview and look forward to seeing The Magic Flute in Adelaide
KEY INFO FOR THE MAGIC FLUTE
WHAT: Mozart’s The Magic Flute, a collaboration between State Opera South Australia, Opera Hong Kong and the Beijing Music Festival.
WHERE: Her Majesty’s Theatre, 58 Grote St, Adelaide SA 5000
WHEN: 4 performances only:
- Thursday 28 August, 2025, 7:30PM
- Saturday 30 August, 2025, 7:30PM
- Thursday 4 September, 2025, 7:30PM
- Saturday 6 September, 2025, 2:00PM
HOW MUCH: Ticket prices are as follows:
- Premium: $189
- A Reserve: Adult $149, Concession $134
- B Reserve: Adult $119, Concession $107
- C Reserve: Adult $79, Concession $71
- Under 30: $35
HOW: Purchase your tickets here
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You may also like to read our interview with State Opera South Australia Executive Director Mark Taylor
