Mozart's Magic Flute Appreciation Thread

[Lilas Pastia]

Two flutes later, some more comments are in order.

First, the Fricsay DG. Like the Böhm Decca it was released in 1955, in time for the bicentennial year. I would imagine it was DG's take on the work, gathering some of the best talents of the day. This is one of the earliest recordings I've ever had (on Heliodor lps), and I've often tended to measure others against it.

This Flute is definitely a modern-sounding one (for its time), as opposed to the tradition-honouring Decca version. Fricsay conducts nervously, imparting a continuous flow the proceedings. He sometimes sounds rigid impatient, though. There is a fair amount of dialogue (some spoken by the singers, other by actors). All the  singers are up to the task, but most fall below their Decca counterparts. Stader's Pamina is a mite placid, Haefliger's Tamino a bit gritty, Fischer-Dieskau's Papageno a far cry from Berry's magnificently sung and acted portrayal (FD huffs and puffs a lot, so to speak). Rita Streich's Astrafiammante is the only role that I find better sung and still, it's not one of the best. The Srarastro and Papagena are excellent.

The sound is in mono and doesn't really help this version to survive as a first-class contender. I  was a mite surprised, since I had such fond memories of this set.

Another one I listened to this week is the 1950 WP Karajan. It had been over two years since I last listened to it, so a reassessment was in order. The dated sound is the main limitation of this set, which otherwise boasts strong conducting and some excellent singing. Irmgard Seefried's Pamina is a very peculiar portrayal. Her aria is the most dreamy, otherworldly I've heard. Sung very slowly, this Ophelia-like lass sounds quite desperate. Captivating. Ludwig Weber's much admired Sarastro is beautifully vocalized, but I find the singing too artful and unctuous. His two big arias are sung very slowly, as if they were slumber songs. Decca's Kurt Böhme is both sumptuous of voice and commanding of presence - no comparison here. This is Wilma Lipp's first QOTN and she sings perfectly, if too blandly. Many other singers have hit the notes as well but have made more of the words. A beautiful Waldwogel singing in the wrong opera (she also sings under Furtwängler and Böhm). Karajan's tempi for ther two arias are a bit strange: too slow in the first act, quite fast in the second (which works better).

Erich Kunz' Papageno is good (but inferior to Berry). Anton Dermota's Tamino is one of the very best to have sung this difficult role. His peculiar voice seems to be made of different registers, artfully sewn together by dint of great musicality and stalwart technique: a throaty, slightly ungrateful low register, a beautifully plangent middle one, and a suave, ethereal head voice where high notes easily turn into ringing steel. No dialogues. One feature of this recording which I found extremely annoying is the singing of the three boys (the genii). The ladies who sing them use a thread of voice to suggest prepubescent boys. It works for a few seconds, but at each appearance (they keep popping up in the second act) the device becomes more irritating.

A good Flute, memorable for its very characterful leads. Ultimately, only a third choice though because of the sonic limitations. Next in line is the DG Abbado. It's been a long time since I had a chance to listen to the first Solti recording, but if memory serves, this should be near the top. I wish I could get it at a reasonable price. I wonder if the DG Böhm is still available. I have never heard it (other than some extracts).

[Dancing Divertimentian]

Fricsay conducts nervously, imparting a continuous flow the proceedings. He sometimes sounds rigid impatient, though.

The sound is in mono and doesn't really help this version to survive as a first-class contender.

Hmm...I disagree with the above. Fricsay might not round off the corners to the same degree as Böhm but I wouldn't go so far as to call him rigid.   

In fact, in Mozart's operas I find Böhm a bit too rounded off.

Fricsay's liveliness, his feel for form, his dramatic emphasis, along with his generally sympathetic singers spell Mozart opera of the first order to me. 

The one thing about Fricsay's Flute that does bother me is the recorded balance. The singers are a mite forward for my taste, with the orchestra a little recessed.

[Tsaraslondon]

I wonder if the DG Böhm is still available. I have never heard it (other than some extracts).

Still available on DG Originals



Worth owning for Wunderlich's Tamino alone.

[Lilas Pastia]

Thanks!

Apart from Wunderlich, how would you assess the others singers? From what I recall, I was very disappointed by the ladies' singing.

[Tsaraslondon]

Thanks!

Apart from Wunderlich, how would you assess the others singers? From what I recall, I was very disappointed by the ladies' singing.

I don't have it on CD, so it's a long time since I listened to it, but, you're right,  the singing on the distaff side is not up to that of the men. I seem to remember rather liking Fischer-Dieskau's Papageno, but I see you didn't take to him on the Fricsay set so your impressions might be otherwise. I don't think the ladies were bad, just not up among the best on other recorded sets. However,  the crowning glory of this set has to be Wunderlich, who sings, well, wonderfully. The voice itself is exceptionally beautiful throughout its range, his legato line impeccable. But he also characterises well; the inherent lyricism in the voice offset by a touch of the heroic. I have yet to hear him bettered. It was probably the greatest thing he did on disc and we are fortunate indeed that we have it.

[Lilas Pastia]

Thanks for the comment. I re-read ARG's Mozart Operas overview and their comment on the Böhm DG is very much along those lines, except that they prefer FD's Böhm Papageno to the Fricsay (too 'knowing' and blustery), which is my own impression.

Briefly, regarding Klemperer's Flute which I listened to today: It's simply incontournable, for the conducting, the playing, and the female singing (luxury casting down to the smallest roles). Gedda is a stylish Tamino, missing sheer beauty of tone but nothing else. Berry is very good as Papageno, but he was even better 10 years earlier. His way with simple lines such as Oh weh! Oh weh! O weh! or Eins - Zwei - Drei on the Decca recording is absolutely priceless. Under Klemperer he is a bit straighter. Klemperer conducts slowly but with great vigour. The sound is still excellent.

BTW I agree with the description of Böhm's conducting as "rounded off", but I see that as part of a package, and certainly not a liability per se: rythms are very firm, and the attention to orchestral colours is simply unique. I think 'rounding off' Mozart's phrases is essentially the habit of tailoring ends smoothly an sonorously. This is something Klemperer never does, but which he allows his singers to do: listen to Popp's vocalizing, where each phrase ending is held longer than the note value would allow, for maximum smoothness and resonance.

[MN Dave]

I'm listening to the 1937 Beecham and enjoying it immensely.  0:)

[MN Dave]

I enjoyed the Beecham well enough that I'm now sniffing around a Bohm recording, supposed to be one of the best.

[Tsaraslondon]

I enjoyed the Beecham well enough that I'm now sniffing around a Bohm recording, supposed to be one of the best.

On balance, I'd say it's one of the better recordings, though it has its faults, mostly on the distaff side. It does, however, have, arguably, the best Tamino on disc in the truly wonderful Fritz Wunderlich - the best thing he ever did on disc (and I'm not forgetting his gloriously sung Das Lied von der Erde). The rest of the male cast are also excellent, from the Papageno of Fischer-Dieskau to Hotter's Speaker. And the women aren't that bad, just not among the best to be found in other sets. Bohm conducts with a sure sense of the structure of the piece, nicely balancing the comic and serious elements in the score.

I would also recommend hearing a more modern performance on original instruments (I own and enjoy the Christie enormously), but the Bohm is immensely rewarding too.

[Brahmsian]

How about Sir charles Mackerral? 

[MN Dave]

On balance, I'd say it's one of the better recordings, though it has its faults, mostly on the distaff side. It does, however, have, arguably, the best Tamino on disc in the truly wonderful Fritz Wunderlich - the best thing he ever did on disc (and I'm not forgetting his gloriously sung Das Lied von der Erde). The rest of the male cast are also excellent, from the Papageno of Fischer-Dieskau to Hotter's Speaker. And the women aren't that bad, just not among the best to be found in other sets. Bohm conducts with a sure sense of the structure of the piece, nicely balancing the comic and serious elements in the score.

I would also recommend hearing a more modern performance on original instruments (I own and enjoy the Christie enormously), but the Bohm is immensely rewarding too.

Thanks for this good information. I have a feeling this will be one of those works of which I collect more than one version.

[knight66]

How about Sir charles Mackerral? 

The Mackerras version is a joy...but it is in English, so is not what everyone will want. No weaknesses in the case, it is excellent. The Abbado hits almost all the spots, unless you want a HIP performance. But my first and lasting love remains the Klemperer. No jokes, but it is never dull.

Mike

[MN Dave]

Thanks for your valuable input, my friend.

[Lilas Pastia]

How about Sir charles Mackerral? 

I don't really like Mackerel's version. I think it misses on the gravitas that inhabits many passages. Overly bright and cheerful, with not much attention for the work's warmth and occasional profundity.

[knight66]

It is odd how different people hear the same performance and process it differently. If the Klemperer is devoid of humour, pretty well anyway, I nevertheless cherish it. I do find the Mackerras moves towards the pantomimic side of the range of possibilities, but he does cram in a lot of detail, lifts the rhythms, provides tender moments and I think the cast is very strong.

Further back, I discussed other possibilities, so will not repeat it all. But as with virtually all masterpieces, no one performance hits all the spots. So, between them, there is much pleasure to be had from the two above, Abbado, the EMI Karajan, Marriner and Fricsay.....plus a good HIP version, looks like I need to investigate that option.

Mike

[Wendell_E]

The Mackerras version is a joy...but it is in English, so is not what everyone will want.

There's also an earlier Mackerras recording in German on Telarc, with Barbara Hendricks, June Anderson, Jerry Hadley, Robert Lloyd, and Thomas Allen.  I've never heard it.

[Lilas Pastia]

That's the one I was referring to. I didn't know he had revisited MF - and in English at that 

[knight66]

[DarkAngel]

Yep, I am with you there, Klemperer's set is the one I most often return to. Janowitz is among my favourite singers and I have just about everything that she is in and that has been issued on disc.

Despite the many fine Hip versions to date (Gardiner, Christie) and still waiting for Rene Jacobs complete his series, I also would take the Klemperer/EMI if I could only keep 1 version. Lead roles of Gedda-Janowitz with Walter Berry as Papageno and Lucia Popp as Queen of Night.......minor roles of ladies of night includes Ludwig & Schwarzkopff, this is truely a deep luxury cast. The whole performance just magically sweeps you away like few others can, all the parts work.......price on Amazon now a bit ridiculous as these get hard to find

[Lilas Pastia]

Despite the many fine Hip versions to date (Gardiner, Christie) and still waiting for Rene Jacobs complete his series, I also would take the Klemperer/EMI if I could only keep 1 version. Lead roles of Gedda-Janowitz with Walter Berry as Papageno and Lucia Popp as Queen of Night.......minor roles of ladies of night includes Ludwig & Schwarzkopff, this is truely a deep luxury cast. The whole performance just magically sweeps you away like few others can, all the parts work.......price on Amazon now a bit ridiculous as these get hard to find

Four more years...before it's in the public domain. From day one, cheap reissues will pour forth