Couldn't resist! I'm hoping to hear about others' favorite interpretations of this wonderful piece, as well as any personal experiences linked to it.
My first experience with The Magic Flute was the Sawallisch-directed vhs video, featuring the excellent Lucia Popp and Francisco Araiza. Shortly after, I picked up the "old-sounding", yet terrific, Beecham-conducted rendition, as well as the Dover Score.
I count this as one of the great masterpieces of Music. I often hear the character Papageno in fourth movement of Beethoven's 9th, and Wagner's character Siegfried definitely bears a stylistic debt to both Tamino and Papageno.
I haven't heard any other videos and/or recordings of this piece besides the ones listed above, so I'm excited if anyone could share their own favorites!
Well, the only film version I have seen is the Bergman classic, essentially a staged performance at Drottningholm. I am interested in seeing Branagh's recent version, though.
Quote from: karlhenning on April 11, 2007, 05:51:23 AM
Well, the only film version I have seen is the Bergman classic, essentially a staged performance at Drottningholm. I am interested in seeing Branagh's recent version, though.
Karl, I've been really interested in the Bergman. I heard it was a bit more "modern/realistic". Could you tell me more, please?
Karl Bohm's studio recording is superb. I also rather enjoy Claudio Abbado's recent recording of the work. For AV I've only seen Colin Davis' recent version, but it's a fine if perhaps slightly too serious take, but Simon Keenlyside's Papageno alone is worth the price of admission.
Quote from: Haffner on April 11, 2007, 05:52:28 AM
Karl, I've been really interested in the Bergman. I heard it was a bit more "modern/realistic". Could you tell me more, please?
The theatre at Drottningholm is a charming Baroque interior; and a lot of the staging is actually fairly Classical (stage 'machinery' not very different to what you see in the opening of
The Adventures of Baron von Munchausen, for instance). It's a charming film.
So, why do people love Magic Flute? Is it the libretto, music or both?
Quote from: 71 dB on April 11, 2007, 06:27:30 AM
So, why do people love Magic Flute? Is it the libretto, music or both?
Well. the music is extraordinary, obviously folk-influenced at times. But, like Wagner's mid-to late era operas, one has to really try to understand the meaning of the libretto (as a Masonic-ally influenced set of symbols), and put aside the immediate sensual experience for a bit.
Schikaneder's libretto foreshadowed Beethoven's use of the Ode To Joy. The masonic lodge believed in the brotherhood of all men. Such was probably a direct reaction to the aristocracy of the time, and the libretto's overall meaning goes well beyond that. There are allegories involving Catholicism, Protestantism, Ancient Egyptian-ism, Judaism...the list goes on.
As for the music, check out the incredible use of fugue in the Ouverture, the scene with the guards and Tamino,etc. Mozart used fugue (or, more precisely, fugal elements) in a way not unlike his Jupiter Symphony (the last movement). Different than Bach, and (if I dare tempt many Bach-lover's lynching tendencies with this next statement) seemingly less dry-at-times than certain parts of Bach's work. More of an "unlearned" style, chance to say. I recognize Bach as of course being a phenomenal composer, but Mozart just seemed to breathe a more vigorous form of life into the fugal form.
And I
love the catchier tunes!! :)
I consumed the Magic Flute with my mother's milk, so to speak. I have seen countless performances and stagings since I was very young and still love this opera every time. I will be flying to New York this weekend to see the William Kentridge (one of my favorite visual artists) La Monnaie production at the BAM.
As to recorded performances, my preferrence would be for any of Solti II, Abbado and Fricsay. They are very different performances, yet equally compelling. Here some short summaries of the recordings I am familiar with.
Solti II (digital), VPO, Jo, Moll, Ziesak, et al: Solti made two recordings. I am not familiar with his first attempt, though by his own account he did not like it and was pining to do it again, which wish was eventually fulfilled in the early 90s with this set. In terms of the singing I find this set the most compelling. Sumi Jo is at the top of her powers as a wonderfully vengeful Queen who sends shivers through my spine every time I hear this recording. Kurt Moll is the prototypical fatherly wise Sarastro, a model for the role. His low notes are a force of nature. Uwe Heilmann is a compelling Tamino and Ruth Ziesak is my favorite Pamina on record. Her "Ach ich fühl's" is amazing. Her diction is stellar. Orchestrally, Solti's VPO has the biggest sound of the three that I would recommend, which may be off-putting for some. But it is by no means overwhelming or inappropriate. He conducts Mozart very naturally and the singing ensembles are marvels of coordination and clarity.
Fricsay (mono), RIAS, Streich, Haefliger, Dieskau, Greindl et al.: Fricsay's touch here is wonderful. From the get go, he produces a magical fairly tale atmosphere that bridges the inherent contradictions between the solemn and the comedic in this opera with ease. That alone for me makes this a top recommendation. That the singers are superb is an added bonus. Rita Streich has a coloratura agility that even Jo can't match, though I find her a tad too sweet. She lacks the vengeance Jo brings to the part. Haefliger is a great Tamino and Greindl is perfect for his role as well. I find Fischer-Dieskau a bit unconvincing as Papageno, just not endearing enough. But overall, this is close to an ideal set, if you don't mind the mono sound and the fact that the dialogues are spoken by different actors than the singers.
Abbado (live), Mahler Chamber Orch., Strehl, Pape, Miklosa, et al.: I have reviewed this at length elsewhere (http://tonicblotter.blogspot.com/2006_08_01_archive.html). Absolutely stunning performance brimming with the electricity of a live event. Abbado, like Fricsay, manages to produce an intimate warm atmosphere of fairy tale story-telling that again prevents either excessive solemnity or excessive lightness. His control of the orchestra is marvellous. He uses a modern chamber orchestra with some HIP touches to produce an amazing textural clarity while never losing the amazing palette of colors he employs here. The star of this performance is Christoph Strehl, who is hands down the most amazing Tamino I have ever heard. Rene Pape as Sarastro is unusually bold and doesn't sound like an old wise man, but is compelling in his own way. Müller-Brachmann is a great Papageno who never lets his part devolve into juvenile silliness but imbues it with real humanity. The women on this set I find less convincing. Dorothea Röschmann is just a bit pale as Pamina and just doesn't convince me that her character is suicidal after being rejected by Tamino. Erika Miklosa is not very agile at the top of her range and her German pronunciation is unclear and marked by a noticeable Hungarian accent. Speaking of diction, all of the other singers have superb diction and articulation. A wonderful set. You would never know from listening to this that this was Abbado's first production of the Magic Flute.
Recording I like considerably less:
Klemperer, Philharmonia, Popp, Gedda, Berry, Janowitz et al.: This was my first recorded set and I have to confess I haven't listened to it in a long time. What I recall not liking about this recording is a) Klemperer's heavyweight Wagnerian orchestra and turgid tempos b) Walter Berry just sounds too old as Papageno c) the three ladies are partially overpowered (Schwarzkopf for heaven's sake!) and just aren't a good ensemble d) many of the singers don't articulate well e) spoken scenes are cut out completely. What is nice is Janowitz as Pamina, though more for musical reasons than her dramatic identification with her part. Lucia Popp is a solid queen, though she lacks the agility of Jo or Streich and sounds dramatically bland in comparison.
Östman, Drottningholm, Streit, Jo, Bonney et al.: This set has been praised through the roof and I still don't quite understand why. Yes, Bonney is a lovely Pamina with beautiful phrasing. I only wish I could understand a word she's saying. I frankly prefer Ziesak, who is here relegated to 1st lady. I am not against experimentation with tempos, but Östman's tempos just don't make any sense at all. When he decides to do something fast it is at breakneck speed and when he's slow things lose tension and barely limp even though he's not as slow as he seems. Phrasing and articulation fall by the wayside. He chases Jo through her "der Hölle Rache" at such a ridiculous tempo that the scene is robbed of any of the devastating atmosphere it should have. It is astounding that Jo manages to actually hit and articulate all the notes at that speed, but she is so much more dramatically convincing with Solti. What is even worse about Östman's direction is that he uses a HIP ensemble, yet fails to achieve textural clarity. Things are muddled in a number of places. No comparison to what Abbado achieves with a modern chamber orchestra. I really like Gilles Cachemaille's Papageno despite his French accent. He's endearingly human even in the spoken dialogues.
Christie, Les Arts florissants, Dessay, Mannion, Blochwitz et al.: This one was a big disappointment for me as I really love Christie's work in many other areas. This is less succesful. The set has all the hallmarks of other winning Christie recipes: young singers who sing without forcing it and are dramatically convincing, and a lively period ensemble. Yet somehow, I think Christie may have used the wrong "period" for his ensemble, not matching the Mozartean sound concept. What I find massively irritating here is that the orchestral balances are way off. There are numerous totally lopsided chords (a number of the famous triple fanfares, for instance) where the top note is inaudible and some bassoon in the middle or at the bottom dominates, oddly suggesting a totally different harmony than what Mozart wrote. Similar issues abound elsewhere, where phrasing and articulation are unclear due to odd orchestral balances. To hear how wonderfully it can be done you'd have to listen to Abbado. That being said, the singers are wonderful, assuming you accept the chamber music volume and aren't looking for "grand" opera (for that, take Solti). Natalie Dessay is a stunning queen, though I'd again give the nod to Sumi Jo who simply has unmatched security of intonation and vocal power.
It's been a long time since I heard the Böhm set, which I don't own. I do remember that it is worth the price of admission for Wunderlich's excellent Tamino alone, though I found Evelyn Lear's Pamina and Roberta Peters' Queen somehow unsatisfying. Böhm has also conducted better Mozart than he does here. Just a bit too broad, not quite wanting to get off the ground in places.
Quote from: Haffner on April 11, 2007, 07:51:37 AM
As for the music, check out the incredible use of fugue in the Ouverture, the scene with the guards and Tamino,etc. Mozart used fugue (or, more precisely, fugal elements) in a way not unlike his Jupiter Symphony (the last movement). Different than Bach, and (if I dare tempt many Bach-lover's lynching tendencies with this next statement) seemingly less dry-at-times than certain parts of Bach's work. More of an "unlearned" style, chance to say. I recognize Bach as of course being a phenomenal composer, but Mozart just seemed to breathe a more vigorous form of life into the fugal form.
That and so much more! The harmonic relationships of all the different numbers to each other, the amazing Papageno-Pamina duet, the stunning coloratura writing for the queen, the chorus of the priests ("O Isis"), the amazing march of the priests, the balancing of the disparate dramatic elements: tragedy, solemnity, comedy, vindication, vengeance, foregiveness, and so much more.... Another parallel to the Jupiter symphony (thanks for your observation, BTW): I was just reviewing the score this morning and realized that the Allegro of the overture matches the effect of the finale of the Jupiter (also in the Linzer), where there is a fast but soft opening statement in the strings that then bursts out in glorious forte in full orchestra. Brahms used this idea to great effect in the finale of his second symphony as well.
EDIT: Looking at available Zauberflöte recordings on amazon, there are a few intriguing ones I have never heard. Does anyone have any comments on Sigiswald Kuijken's version? Any cmoments on Colin Davis/Dresden?
Quote from: O Mensch on April 11, 2007, 08:18:38 AM
Recording I like considerably less:
Klemperer, Philharmonia, Popp, Gedda, Berry, Janowitz et al.: This was my first recorded set and I have to confess I haven't listened to it in a long time. What I recall not liking about this recording is a) Klemperer's heavyweight Wagnerian orchestra and turgid tempos b) Walter Berry just sound too old as Papageno c) the three ladies are partially overpowered (Schwarzkopf for heaven's sake!) and just aren't a good ensemble d) many of the singers don't articulate well f) spoken scenes are cut out completely. What is nice is Janowitz as Pamina, though more for musical reasons than her dramatic identification with her part. Lucia Popp is a solid queen, though she lacks the agility of Jo or Streich and sounds dramatically bland in comparison.
Sorry to hear the above, because Klemperer's is my all-time favored version. Surprised to read that you consider Berry to sound to old for Papageno; I think he's fantastic with wonderful articulation.
Quote from: O Mensch on April 11, 2007, 08:18:38 AM
I consumed the Magic Flute with my mother's milk, so to speak. I have seen countless performances and stagings since I was very young and still love this opera every time. I will be flying to New York this weekend to see the William Kentridge (one of my favorite visual artists) La Monnaie production at the BAM.
You are so lucky,
O! That Kentridge production sounds great!
Quote from: O Mensch on April 11, 2007, 08:18:38 AM
As to recorded performances, my preferrence would be for any of Solti II, Abbado and Fricsay. They are very different performances, yet equally compelling. Here some short summaries of the recordings I am familiar with.
Solti II (digital), VPO, Jo, Moll, Ziesak, et al: Solti made two recordings. I am not familiar with his first attempt, though by his own account he did not like it and was pining to do it again, which wish was eventually fulfilled in the early 90s with this set. In terms of the singing I find this set the most compelling. Sumi Jo is at the top of her powers as a wonderfully vengeful Queen who sends shivers through my spine every time I hear this recording. Kurt Moll is the prototypical fatherly wise Sarastro, a model for the role. His low notes are a force of nature. Uwe Heilmann is a compelling Tamino and Ruth Ziesak is my favorite Pamina on record. Her "Ach ich fühl's" is amazing. Her diction is stellar. Orchestrally, Solti's VPO has the biggest sound of the three that I would recommend, which may be off-putting for some. But it is by no means overwhelming or inappropriate. He conducts Mozart very naturally and the singing ensembles are marvels of coordination and clarity.
Fricsay (mono), RIAS, Streich, Haefliger, Dieskau, Greindl et al.: Fricsay's touch here is wonderful. From the get go, he produces a magical fairly tale atmosphere that bridges the inherent contradictions between the solemn and the comedic in this opera with ease. That alone for me makes this a top recommendation. That the singers are superb is an added bonus. Rita Streich has a coloratura agility that even Jo can't match, though I find her a tad to sweet. She lacks the vengeance Jo brings to the part. Haefliger is a great Tamino and Greindl is perfect for his role as well. I find Fischer-Dieskau a bit unconvincing as Papageno, just not endearing enough. But overall, this is close to an ideal set, if you don't mind the mono sound and the fact that the dialogues are spoken by different actors than the singers.
Abbado (live), Mahler Chamber Orch., Strehl, Pape, Miklosa, et al.: I have reviewed this at length elsewhere (http://tonicblotter.blogspot.com/2006_08_01_archive.html). Absolutely stunning performance brimming with the electricity of a live event. Abbado, like Fricsay, manages to produce an intimate warm atmosphere of fairy tale story-telling that again prevents either excessive solemnity or excessive lightness. His control of the orchestra is marvellous. He uses a modern chamber orchestra with some HIP touches to produce an amazing textural clarity while never losing the amazing palette of colors he employs here. The star of this performance is Christoph Strehl, who is hands down the most amazing Tamino I have ever heard. Rene Pape as Sarastro is unusually bold and doesn't sound like an old wise man, but is compelling in his own way. Müller-Brachmann is a great Papageno who never lets his part devolve into juvenile silliness but imbues it with real humanity. The women on this set I find less convincing. Dorothea Röschmann is just a bit pale as Pamina and just doesn't convince me that her character is suicidal after being rejected by Tamino. Erika Miklosa is not very agile at the top of her range and her German pronunciation is unclear and marked by a noticeable Hungarian accent. Speaking of diction, all of the other singers have superb diction and articulation. A wonderful set. You would never know from listening to this that this was Abbado's first production of the Magic Flute.
Recording I like considerably less:
Klemperer, Philharmonia, Popp, Gedda, Berry, Janowitz et al.: This was my first recorded set and I have to confess I haven't listened to it in a long time. What I recall not liking about this recording is a) Klemperer's heavyweight Wagnerian orchestra and turgid tempos b) Walter Berry just sound too old as Papageno c) the three ladies are partially overpowered (Schwarzkopf for heaven's sake!) and just aren't a good ensemble d) many of the singers don't articulate well f) spoken scenes are cut out completely. What is nice is Janowitz as Pamina, though more for musical reasons than her dramatic identification with her part. Lucia Popp is a solid queen, though she lacks the agility of Jo or Streich and sounds dramatically bland in comparison.
Östman, Drottingholm, Streit, Jo, Bonney et al.: This set has been praised through the roof and I still don't quite understand why. Yes, Bonney is a lovely Pamina with beautiful phrasing. I only wish I could understand a word she's saying. I frankly prefer Ziesak, who is here relegated to 1st lady. I am not against experimentation with tempos, but Östman's tempos just don't make any sense at all. When he decides to do something fast it is at breakneck speed and when he's slow things lose tension and barely limp even though he's not as slow as he seems. Phrasing and articulation fall by the wayside. He chases Jo through her "der Hölle Rache" at such a ridiculous tempo that the scene is robbed of any of the devastating atmosphere it should have. It is astounding that Jo manages to actually hit and articulate all the notes at that speed, but she is so much more dramatically convincing with Solti. What is even worse about Östman's direction is that he uses a HIP ensemble, yet fails to achieve textural clarity. Things are muddled in a number of places. No comparison to what Abbado achieves with a modern chamber orchestra. I really like Gilles Cachemaille's Papageno despite his French accent. He's endearingly human even in the spoken dialogues.
Christie, Les Arts florissants, Dessay, Mannion, Blochwitz et al.: This one was a big disappointment for me as I really love Christie's work in many other areas. This is less succesful. The set has all the hallmarks of other winning Christie recipes: young singers who sing without forcing it and are dramatically convincing, and a lively period ensemble. Yet somehow, I think Christie may have used the wrong "period" for his ensemble, not matching the Mozartean sound concept. What I find massively irritating here is that the orchestral balances are way off. There are numerous totally lopsided chords (a number of the famous triple fanfares, for instance) where the top note is inaudible and some bassoon in the middle or at the bottom dominates, oddly suggesting a totally different harmony than what Mozart wrote. Similar issues abound elsewhere, where phrasing and articulation are unclear due to odd orchestral balances. To hear how wonderfully it can be done you'd have to listen to Abbado. That being said, the singers are wonderful, assuming you accept the chamber music volume and aren't looking for "grand" opera (for that, take Solti). Natalie Dessay is a stunning queen, though I'd again give the nod to Sumi Jo who simply has unmatched security of intonation and vocal power.
It's been a long time since I heard the Böhm set, which I don't own. I do remember that it is worth the price of admission for Wunderlich's excellent Tamino alone, though I found Evelyn Lear's Pamina and Roberta Peters' Queen somehow unsatisfying. Böhm has also conducted better Mozart than he does here. Just a bit too broad, not quite wanting to get off the ground in places.
That and so much more! The harmonic relationships of all the different numbers to each other, the amazing Papageno-Pamina duet, the stunning coloratura writing for the queen, the chorus of the priests ("O Isis"), the amazing march of the priests, the balancing of the disparate dramatic elements: tragedy, solemnity, comedy, vindication, vengeance, foregiveness, and so much more.... Anotehr parallel to the Jupiter symphony (thanks for your observation, BTW): I was just reviewing the score this morning and realized that the Allegro of the overture matches the effect of the finale of the Jupiter (also in the Linzer), where there is a fast but soft opening statement in the strings that then bursts out in glorious forte in full orchestra. Brahms used this idea to great effect in the finale of his second symphony as well.
Thank you so much for the reccomendations, O. For me, the Magic Flute tells the story of how, through every person on earth sharing, helping, and believing in each other, mortals become like Gods. Perhaps Wagner continued the storyline into the next level with his Ring saga. The Gods are on fire, and mortals must become like Gods because of it.
Quote from: Don on April 11, 2007, 08:29:45 AM
Sorry to hear the above, because Klemperer's is my all-time favored version. Surprised to read that you consider Berry to sound to old for Papageno; I think he's fantastic with wonderful articulation.
Compare to Michael Kraus (Solti II), Gilles Cachemaille (Östman) or Hanno Müller-Brachmann (Abbado) and you'll hear what I mean. Berry is jovial and all, but just doesn't sound like a young, inexperienced man brimming with desire yet constrained by fear. He sounds too at ease, too experienced. I'm just not buying the part from him, dramatically.
Quote from: Haffner on April 11, 2007, 08:37:48 AM
For me, the Magic Flute tells the story of how, through every person on earth sharing, helping, and believing in each other, mortals become like Gods.
Indeed! "Sterbliche, den Göttern gleich"
Quote from: O Mensch on April 11, 2007, 08:18:38 AM
Another parallel to the Jupiter symphony (thanks for your observation, BTW): I was just reviewing the score this morning and realized that the Allegro of the overture matches the effect of the finale of the Jupiter (also in the Linzer), where there is a fast but soft opening statement in the strings that then bursts out in glorious forte in full orchestra. Brahms used this idea to great effect in the finale of his second symphony as well.
EDIT: Looking at available Zauberflöte recordings on amazon, there are a few intriguing ones I have never heard. Does anyone have any comments on Sigiswald Kuijken's version? Any cmoments on Colin Davis/Dresden?
The contrasts between the winds, brass, and strings that Mozart emphasized in the opening of the Jupiter are amazing and inspiring.
I wonder if the Kurijken is HiP?
Quote from: Haffner on April 11, 2007, 08:43:17 AM
I wonder if the Kurijken is HiP?
Could it possibly be anything else? ;)
Quote from: O Mensch on April 11, 2007, 08:39:52 AM
Compare to Michael Kraus (Solti II), Gilles Cachemaille (Christie) or Hanno Müller-Brachmann (Abbado) and you'll hear what I mean. Berry is jovial and all, but just doesn't sound like a young, inexperienced man brimming with desire yet constrained by fear. He sounds too at ease, too experienced. I'm just not buying the part from him, dramatically.
I've heard those three and most others. Berry leaves them in the shade.
Quote from: O Mensch on April 11, 2007, 08:44:23 AM
Could it possibly be anything else? ;)
I'm checking Amazon, thanks!
Quote from: Don on April 11, 2007, 08:44:44 AM
I've heard those three and most others. Berry leaves them in the shade.
To each his own then...
Quote from: O Mensch on April 11, 2007, 08:47:18 AM
To each his own then...
Most certainly. Think I'll take out my Mackerras and give it a spin.
It is not an opera I can just listen to, I have to watch it. I saw it live twice last year it was wonderful. The high notes made my ears hurt.
Quote from: Haffner on April 11, 2007, 07:51:37 AM
As for the music, check out the incredible use of fugue in the Ouverture
Well, it's good but I have never found Mozart's fugues that special.
I have the Karl Bohm recording which I've always enjoyed. The male singers are the real stars of the show - the women aren't always consistently good in the recording.
Another vote for Solti II.
Quote from: Que on April 13, 2007, 09:44:20 AM
"Der Hölle Rache kocht in meinem Herzen.." ;D
So, who are the best Queens of the Night? Any opinions?
None! I don't like high sopranos, especially the ones who make this role their only achievement in their singing career, like Sumo Jo, to name one.
There is only one I can tolerate and that is Dorothea Röschmann, at least she does not hurt my ears, makes me wince and shudder!
Quote from: Don Giovanni on April 13, 2007, 10:20:30 AM
I have the Karl Bohm recording which I've always enjoyed. The male singers are the real stars of the show - the women aren't always consistently good in the recording.
True, unfortunately, but I have a soft spot for Roberta Peters. I remember seeing her on TV when I was a pup. She was quite famous in her day and, shrill or not, I still enjoy listening to her. Nostalgia plays a big part in that enjoyment though.
I have Böhm (DG), Haitink, Solti II, Karajan (DG) and Klemperer...and having just heard Müller-Brachman in Berlin, the Abbado is in my future.
Sarge
Quote from: MrOsa on April 14, 2007, 05:06:15 AM
So, who are the best Queens of the Night? Any opinions?
Frieda Hempel. You can hear her "
Der Hölle Rache" on a 1911 recording. Brilliant...but not for Uffeviking. Demonstrating her remarkable voice, she departs from the text and takes a few notes an octave higher...seems impossbile but she pulls it off.
Of more recent singers, my favorite Queen is Lucia Popp.
Sarge
Lis, your ears are too subtle! ;D There's place for a little "sport" at the opera too. ;) As long as there's only a little of it... ;D
Quote from: uffeviking on April 14, 2007, 12:42:31 PM
None! I don't like high sopranos, especially the ones who make this role their only achievement in their singing career, like Sumo Jo, to name one.
That's a bit of an exaggeration. Sumi Jo's also sung Gilda, Oscar, Lucia, Olympia, and Rosina (and that's just a list of her Met roles).
I stand corrected, thank you! :-*
In my defence: I seldom listen to the Met broadcasts nor watch opera broadcasts on PBS. - No TV connections. - Operas I buy are the ones on DVD, usually new works by contemporary composers and there I am very careful what I choose. She is not on my list of 'should buy'! :)
Quote from: uffeviking on April 14, 2007, 04:09:11 PM
She is not on my list of 'should buy'! :)
Mine either, really. But I do have her Giulietta and Zerbinetta on Nagano's recordings of
Les Contes d'Hoffmann and the original version of
Ariadne auf Naxos.
I always thought that Edita Gruberova was up there in the list of best Queen's ever. Maybe it's just me, but damn could she get out those high notes! ;D
Quote from: Sergeant Rock on April 14, 2007, 01:40:37 PM
True, unfortunately, but I have a soft spot for Roberta Peters. I remember seeing her on TV when I was a pup. She was quite famous in her day and, shrill or not, I still enjoy listening to her. Nostalgia plays a big part in that enjoyment though.
I have Böhm (DG), Haitink, Solti II, Karajan (DG) and Klemperer...and having just heard Müller-Brachman in Berlin, the Abbado is in my future.
Sarge
I didn't know there
was an Herbert Von Karajan recording of the Magic Flute. Really curious to hear what you have to say on that one,
Sarge!
Quote from: CaroNome on April 14, 2007, 06:30:31 PM
I always thought that Edita Gruberova was up there in the list of best Queen's ever. Maybe it's just me, but damn could she get out those high notes! ;D
A favorite of mine, as well.
Quote from: uffeviking on April 14, 2007, 12:42:31 PM
There is only one I can tolerate and that is Dorothea Röschmann, at least she does not hurt my ears, makes me wince and shudder!
Dorothea Röschmann is a lyrical soprano, not a coloratura. She never sang the queen. She has sung Pamina on a number of occasions (preserved on disc on Abbado's recording). I find her rather bland and emotionally unconvincing, I must say. No match for Ruth Ziesak, Barbara Bonney or any number of others.
Quote from: Wendell_E on April 14, 2007, 03:59:41 PM
That's a bit of an exaggeration. Sumi Jo's also sung Gilda, Oscar, Lucia, Olympia, and Rosina (and that's just a list of her Met roles).
Indeed! I saw her do Gilda at the Met a few years ago and she brought tears to my eyes. She was unbelievable.
Quote from: O Mensch on April 15, 2007, 06:24:23 PM
Dorothea Röschmann is a lyrical soprano, not a coloratura. She never sang the queen.
Um Gottswillen, I made the same mistake about six months ago and T.C. corrected me, as you did; thank you!
May I use a lame excuse? I got out the DVD of the
Colin Davis Zauberflöte and covering the entire front is a wonderful picture of
Diana Damrau as the Queen. The first female name on the cover is
Dorothea Röschmann and since I am known for being the greatest Hudler, I didn't check closer.
The excuse does not count? I tried! :-[
Quote from: uffeviking on April 15, 2007, 07:17:26 PM
I got out the DVD of the Colin Davis Zauberflöte and covering the entire front is a wonderful picture of Diana Damrau as the Queen.
Damrau is good. There are clips from that video of both her arias on youtube. I still prefer Jo, though. Damrau has annoyingly wide vibrato in her middle range, for my taste.
Seems like I can stick to my only one, Solti II. Thanks for the teaching, guys.
Quote from: Haffner on April 11, 2007, 08:37:48 AM
You are so lucky, O! That Kentridge production sounds great!
Actually, it
looked much better than it
sounded. Detailed report will follow.
http://www.youtube.com/watch?v=DvuKxL4LOqc
here's Damrau, I love it (I really want to see and hear the whole recording, it seems to be like something I want to see unlike that horrible Met production).
Quote from: Haffner on April 15, 2007, 06:07:31 AM
I didn't know there was an Herbert Von Karajan recording of the Magic Flute. Really curious to hear what you have to say on that one, Sarge!
There are at least two recordings: on Decca, in mono, with Seefried, Lipp, Loose, Dermota, Kunz, Weber and the VPO; and on DG with Mathis, Ott, Perry, Araiza, Hornick, Van Dam and the Berlin Phil. Like his Don Giovanni the tempos can be slow (Penguin says "dangerously slow") but I don't recall much else. I have the box of LPs and frankly, haven't listened to it in probably twenty years. I should give it another spin.
Sarge
Nothing quite like the smell of vinyl in the evening, Sarge!
Quote from: Valentino on April 16, 2007, 12:39:50 PM
Nothing quite like the smell of vinyl in the evening, Sarge!
Yes, I'd almost forgotten... :)
Sarge
Quote from: Siedler on April 16, 2007, 10:56:56 AM
http://www.youtube.com/watch?v=DvuKxL4LOqc
here's Damrau, I love it (I really want to see and hear the whole recording, it seems to be like something I want to see unlike that horrible Met production).
Please do try to get it from your library, it's the production where
Simon Keenlyside made
Papageno his own, forever! Well maybe in a hundred years a better Papageno might come along, just maybe. 8)
Quote from: uffeviking on April 16, 2007, 01:18:37 PM
Please do try to get it from your library, it's the production where Simon Keenlyside made Papageno his own, forever! Well maybe in a hundred years a better Papageno might come along, just maybe. 8)
Alas, Uffe, my library doesn't have that DVD. :'( I have it on my to-buy list.
My first live opera experience so it while its not my fave its special.
A friend has the EMI Klemperer, Schwartzkopf etc. on vinyl. We played side 1 the other night. Good. Very good. Sounds great too. I guess Walter Legge took care of the engineering so it should.
I think it is a wonderful performance, no recits and that is a bit odd, though for non German speakers that is better then yards of the stuff on and on in Act 2. Possibly the best cast ever recorded in the piece.
Mike
I've recently heard a really great Queen of the Night aria sung by Zdzislawa Donat (she was in the MET production in 1981 but the recording I have is from Poland, with WOSPR/Jacek Kaspszyk, no date >:().
But I probably shouldn't be passing judgement just yet, as I still haven't heard Sumi Jo.
Quote from: MrOsa on April 30, 2007, 12:23:12 PM
I've recently heard a really great Queen of the Night aria sung by Zdzislawa Donat (she was in the MET production in 1981 but the recording I have is from Poland, with WOSPR/Jacek Kaspszyk, no date >:().
But I probably shouldn't be passing judgement just yet, as I still haven't heard Sumi Jo.
Donat is excellent. I heard her live on a couple of occasions in Germany in the mid/late 80s. I'd still say Sumi's better, though.
Quote from: O Mensch on April 30, 2007, 01:52:26 PM
I'd still say Sumi's better, though.
Well, I'll get it eventually, I hope.
Quote from: 71 dB on April 11, 2007, 06:27:30 AM
So, why do people love Magic Flute? Is it the libretto, music or both?
Because it is not Elgar or Bruhns :)
Quote from: 71 dB on April 11, 2007, 06:27:30 AM
So, why do people love Magic Flute? Is it the libretto, music or both?
I like papageno, every time he was on stage I couldn't help but smile.
Anyone know more about this
http://www.youtube.com/watch?v=zGMz8OlunO0
when does it come out?
http://www.youtube.com/watch?v=QGRDlXFFHzA
http://www.youtube.com/watch?v=MHpzLQ3zM_I
Brilliant scene! I love papageno
http://www.youtube.com/watch?v=yGRyRAUAc1Y
Ahh why did they have to cut this one off right there! Damnit!
From this, it looks like it is still doing the festival rounds, no idea when it will be generally available. Comment on 5th March 07.
"a little bit of curmudgeonly comment goes a long way: Mr. B. did indeed make an appearance in Barcelona and you can see a bunch of photos here. I don't believe he was in Belfast for the premiere of The Magic Flute there, but at least now we know... he's aliiiiive!"
Mike
Revive this thread!
Its quickly becoming my favorite opera. The overture is brilliant.
Mozart, I shall be going to see this opera of yours on July 26th at the Barbican in London. Sung in English, though, not your native German. ;)
Quote from: Mark on May 20, 2007, 02:30:38 PM
Mozart, I shall be going to see this opera of yours on July 26th at the Barbican in London. Sung in English, though, not your native German. ;)
I would love to produce this opera with unlimited funds. I can think of brilliant scenes and costumes, the same for Don Giovanni, but Losley's film is good enough. Ive mentioned that I saw it twice (the first time I had gas and left early haha) but I didnt appreciate it as I do now.
Quote from: Mark on May 20, 2007, 02:30:38 PM
Mozart, I shall be going to see this opera of yours on July 26th at the Barbican in London. Sung in English, though, not your native German. ;)
This was my first live opera last year [in German] although I'd learnt it in English [Chandos version]. It was fantastic and a perfect introduction.
My second opera was
Faust which was sensational. Turned me into a bonafide opera nut!
(http://inkpot.com/classical/images/zfqueenight1.jpg)
Ohh endless night of devastation when comes the light of revelation?
SOON! SOON! youth....or NEVER!
My first opera was Handel Ceasar. I couldnt take it, I still cant make it even half way through its just to much.
Favorite scene?
Theres 2 that stand out the end with papageno and papagena is awesome but I love when he plays the bells and they all dance.
http://www.youtube.com/watch?v=RbrFd-3Gd2c
Among the 22 recordings I've heard I prefer my first one with Popp, Janowitz, Gedda, Berry, Ludwig, Schwarzkopf, Frick, cond. Klemperer...it's Perfect, though without speaking dialogues. Hope some day I'll write how I do feel about them all.
I also heard it in Italian in English, such a nice experience. ;D
Probably it is my favorite opera...though I can't say it is as there is a lot of others, favorite too and it's not easy to acknowledge the only one. Everything depends on singing, conducting...sometimes great operas can be sung terribly and others, being not so sparkling can be produced very very well.
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.
Mike
Quote from: knight on December 22, 2007, 11:59:22 PM
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.
Mike
Me too - The Klemp's Zauberflöte is great!
I'm still in the market for a HIP recording, but I found O Mensch's commments on both the Östman and the Christie discouraging. Though I wasn't exactly overwhelmed by either myself, when sampling. Any other suggestions or comments?
Q
You would think there would be a good selection of HIP recordings...but for this opera I have found myself junking them, including Norrington. Fricsay is another recording I enjoy a great deal as well as the Chandos in English conducted by Mackerras. We will just have to be patient I guess.
Mike
How could I forget to mention the Abbado version; a delight and probably the best committed to disc for 30 years, or more.
Mike
Just been watching the new DVD from Zurich of Die Zauberflote with Harnoncourt conducting. The director is Kusej - that might put some of you off straight away.
It has Strehl as Tamino (as on the Abbado set), Musuc as Queen, and Salminen as Sarastro. Papageno is Ruben Drole and he is excellent.
I can only say that i have only seen this opera once in the theatre some years ago and i have been looking for a decent DVD. This is highly recommended and i think i have found the perfect DVD.
The setting is very modern, eurotrash-but also inventive and it looks fresh. Harnoncourt conducts slowly as usual but it does not plod along as some of his recordings can.
On CD i favour the Gardener production (i used to have this on Video also and really enjoyed the semi-staging, another worth watching). I also enjoy the recent Abbado and the Christie recording.
Anyone seen the recent Muti DVD from the Salzburg Mozart Festival as part of the Mozart 22 series? I could have picked that up but wanted to watch the Harnoncourt one first.
Quote from: Sarastro on December 22, 2007, 01:14:57 PM
Among the 22 recordings I've heard I prefer my first one with Popp, Janowitz, Gedda, Berry, Ludwig, Schwarzkopf, Frick, cond. Klemperer...it's Perfect, though without speaking dialogues. Hope some day I'll write how I do feel about them all.
I also heard it in Italian in English, such a nice experience. ;D
Probably it is my favorite opera...though I can't say it is as there is a lot of others, favorite too and it's not easy to acknowledge the only one. Everything depends on singing, conducting...sometimes great operas can be sung terribly and others, being not so sparkling can be produced very very well.
It is excellently sung and excellent in realizing the more serious aspects of the opera, but Klemperer tends to be heavy-handed and completely lacks any sense of fun. This makes certain aspects of his recording incomparable (the recitative between Tamino and the Speaker, the chorale prelude for the Two Men in Armor, the Sarastro/Pamina/Tamino trio, among other things), but all the Papageno/Papagena business is heavy going.
The Marriner with Araiza and Te Kanawa isn't as distinguished as Klemperer at his best, but better balances the opera's serious and comic sides.
Quote from: yashin on December 26, 2007, 06:30:38 PM
Anyone seen the recent Muti DVD from the Salzburg Mozart Festival as part of the Mozart 22 series? I could have picked that up but wanted to watch the Harnoncourt one first.
I have it. The draw of this set is obviously Diana Damrau as the Queen and Genia Kühmeier as Pamina - about as good of a cast as you could possibly want for those two roles among living singers. Plus you get Rene Pape as Sarastro (as on Abbado's recording) - not my ideal choice for this part because his low notes don't have as much resonance as, say, Kurt Moll's, but a great singer either way. The rest of the cast are solid, but not special. Musically, the downer for me is Muti's conducting. He brings out all the qualities in the VPO's playing that can become a liability in a score like this. The playing is thick, velvety, broad and without any edge at all. It's like Klemperer, but without Klemperer's grandeur and purpose. It just feels tedious and lacks any bounce to keep it moving. The staging is ... well ... plainly bizarre. This is the second Pierre Audi production I have seen (the first one being Poppea in a Netherlands Opera production) and the second consecutive flop. I am all for Regietheater when it is well thought out and the concept bears some recognizeable relationship to the opera (even if it's one the original authors never dreamt of). But this is just random. It's like teletubbies let loose in an aboriginal art store. It neither enhances the action, nor does it make a statement in its own right. So, unless you really want to see a superlative Pamina-Queen interaction on stage and are willing to put up with Audi's staging, I wouldn't get this. That being said, Damrau and Kühmeier really can act, and the scene surrounding "Der Hölle Rache" is exceptional. In this scene, the Muti DVD is better than Davis's because Davis has Roeschmann as Pamina, who sings very prettily but without any expression and can't act. I was very excited to get Muti's DVD after seeing Damrau and Kühmeier live at the Met (my review here (http://tonicblotter.blogspot.com/2007/11/queen-abdicates.html)), but as a complete opera the DVD as a whole is a disappointment, particularly with the silly visuals.
I don't have the Harnoncourt. Strehl is terriffic on Abbado's recording. Will have to look into that. I just got the Horst Stein DVD (directed by Peter Ustinov). Haven't watched it yet.
Quote from: Sforzando on December 26, 2007, 07:22:04 PM
It is excellently sung and excellent in realizing the more serious aspects of the opera, but Klemperer tends to be heavy-handed and completely lacks any sense of fun. This makes certain aspects of his recording incomparable (the recitative between Tamino and the Speaker, the chorale prelude for the Two Men in Armor, the Sarastro/Pamina/Tamino trio, among other things), but all the Papageno/Papagena business is heavy going.
I'd agree with this. While Mozart's writing in Zauberflöte is really innovative and in many ways paves the way for Wagner (the scene with Tamino and the Speaker, in particular), that doesn't mean that it should be conducted as if it were Wagner. Klemperer just seems to take it all too seriously. Which, if you follow the lyrics, you just can't. The humor is lacking.
Quote from: knight on December 23, 2007, 12:25:14 AM
You would think there would be a good selection of HIP recordings...but for this opera I have found myself junking them, including Norrington. Fricsay is another recording I enjoy a great deal as well as the Chandos in English conducted by Mackerras. We will just have to be patient I guess.
I agree on the seeming dearth of decent HIP performances. Christie's version is marred by oddly non-transparent and unbalanced orchestral playing and unconvincing singers (excepting Dessay as the Queen, Scharinger as Papageno and Hagen as Sarastro). Östman's highly lauded recording I can't stand. The guy conducts incredibly fast and without the slightest rubato. May the singers breathe when they can. God help them. How Sumi Jo manages to get through the Queen's arias at that pace and hit all the notes is astounding, but more in the sense that an athletic achievement is astounding. Artistically it's empty. Östman's recording lacks charm and dramatic structure. It all comes out sounding the same. I'd have to say the best "HIP" recording is Abbado's (apart from being also one of the best overall). Abbado intelligently observes many HIP aspects but on modern instruments: almost no vibrato, very clear textures, no crazy fortissimos. It is one of the most naturally flowing performances I have heard. Strehl's Tamino is simply superlative. Nothing like it since Wunderlich. You can read my complete review of the Abbado set here (http://tonicblotter.blogspot.com/2006/08/cd-review-abbados-magic-flute.html).
As far as non-HIP recordings go, I'd say, overall, in modern sound, Solti II would be my top choice. He has Sumi Jo at the height of her powers as the Queen, Kurt Moll in the fullest voice as the prototypical Sarastro, Ruth Ziesak as a superlative Pamina and Uwe Heilmann is excellent as Tamino (though not in Strehl's league). Solti keeps things moving naturally and the VPO plays crisp and clear for him, unlike for Muti. As usual with Solti, all the larger ensembles are examples of textbook clarity, coordination and balance. Among older recordings there is the aforementioned Fricsay which deserves special mention. Fricsay has a superb cast including Rita Streich as the Queen who sings with unbelievable effortlessness even in the top register. Her only flaw may be that she isn't nearly as scary as, say, Damrau. But Fricsay's direction is amazing. I don't know how he does it, but he manages to set up this fairy-tale setting. There is a certain hard to describe atmosphere that Fricsay creates that makes you feel like you are sitting by a fireplace with an excellent story-teller taking you through this magical tale. Abbado comes close in creating a similar atmosphere, but Fricsay is still very, very special. It's been reissued inexpensivley as part of the Penguin Rosette collection.
My first full listen to The Magic Flute. Fantastic! :)
Mozart
John Eliot Gardiner, conductor
The Monteverdi Choir
The English Baroque Soloists
on authentic instruments
Archiv Produktion
DG
O Mensch:
"Abbado comes close in creating a similar atmosphere, but Fricsay is still very, very special. It's been reissued inexpensivley as part of the Penguin Rosette collection."
How or where does one find the Penguin Rosette Collection? I have never heard of this before. Thanks for anything you can do to help me. :)
Quote from: Anne on June 02, 2008, 08:35:21 AM
O Mensch:
"Abbado comes close in creating a similar atmosphere, but Fricsay is still very, very special. It's been reissued inexpensivley as part of the Penguin Rosette collection."
How or where does one find the Penguin Rosette Collection? I have never heard of this before. Thanks for anything you can do to help me. :)
Only available in/from the UK.
Go to MDT and do a search on "Rosette Collection".
Q
Quote from: Que on June 02, 2008, 08:58:05 AM
Only available in/from the UK.
Go to MDT and do a search on "Rosette Collection".
They're available here in Canada (at bargain price, so I don't think they're imported).
Quote from: Shrunk on June 02, 2008, 09:09:50 AM
They're available here in Canada (at bargain price, so I don't think they're imported).
That's very fortunate! :) They are issued in the UK at
midprice.
Q
Quote from: Shrunk on June 02, 2008, 09:09:50 AM
They're available here in Canada (at bargain price, so I don't think they're imported).
Also available in the U.S. at amazon (and other retailers, no doubt):
http://www.amazon.com/Mozart-Magic-Flute-Wolfgang-Amadeus/dp/B00020QWFA/ref=sr_1_2?ie=UTF8&s=music&qid=1212436630&sr=1-2
Thanks, everyone, for your help.
TTT. No use starting a new Magic Flute thread 0:).
Zauberflöte is one of those unsinkable operas that will forever be at the forefront of the repertoire.
These past few days I had the unusual experience of listening to a performance I found so absorbing that it quite stopped any other kind of listening until I had fully absorbed its extraordinary qualities. This is a 1955 Decca performance with the WP under Karl Böhm. The most striking aspect of this performance is how much / and how hard - it strives to present a uniquely viennese view of the work. It boasts an extraordinary combination of musical suavity and earthiness, vocal and instrumental perfection allied to unique verbal acuity. I don't claim it's the best Magic Flute ever, but it's certainly one of the most distinctive I've heard.
Despite its age the recording is stereo and quite beautiful. Instrumentally, this has claims to boast the most sheerly gorgeous flute (!) and glockenspiel (!!!) playing ever heard. There are extended solos for both instruments and I was gasping at their beauty, sophistication and utter simplicity. Simply unique. Great orchestral and choral playing/singing. And apart from a couple of just excellent singers (Quen of the Night, Papagena), it features one of the most vocally perfect and dramatically compelling team of singers I've heard: Kurt Böhme's commanding, plush and mellifluous Sarastro, Berry's magnificently sung Papageno, Simoneau's gleaming, jaw-droppingly beautiful Tamino, and Hilde Gueden's achingly tender and tensile Pamina.
I did notice a degree of artficiality in the pacing and phrasing - as if everybody was conscious of preparing a phonographic document worthy of the bicentenary year. But still, I don't think I've heard a more perfect Magic Flute. I listened to the first disc (Act I) five times before proceeding to the second one. It's just that good.
I'll be listening to the 1950 Karajan, 1955 Fricsay and 1962 Klemperer for comparison. All of which I know quite well, with a quite unbeatable match of personality, stylish playing and characterful singing. But I don't think they will trump that Decca effort.
Andre, Very interesting. I have scarcely been conscious of this version. I have the Karajan and Fricsay versions and enjoy them both, especially the latter. I will look forward to your next installment.
Mike
My first Magic Flute was conducted by Davis, 3 CDs in a dark blue box from Philips. I bought it new for $10 back in the '80s, at a store in Georgetown that was getting rid of classical as a category. I had no idea if I'd like it. I'd never listened to an opera before. But for $10, why not? (I also got a lot of Haydn by Hogwood that day. I don't recall the price.) I fell in love with the Queen of the Night's "Der Holle Rach." I sold the Davis version ten years later, thinking I was going to replace my entire CD collection with LPs when I bought a pair of overly revealing speakers, then settled on the Ostman version when I recovered from the long, dark night of my CD selling nightmare. I listened to it compulsively for a few months, and I haven't really listened to Zauberflote since.
Today, clicking around from a you tube link posted here, I found this Queen of the Night. It might be my favorite.
http://www.youtube.com/watch?v=F9ijwfRTv0o&feature=related
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).
Quote from: Lilas Pastia on October 18, 2008, 04:14:46 PM
Fricsay conducts nervously, imparting a continuous flow the proceedings. He sometimes sounds rigid impatient, though.
Quote
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.
Quote from: Lilas Pastia on October 18, 2008, 04:14:46 PM
I wonder if the DG Böhm is still available. I have never heard it (other than some extracts).
Still available on DG Originals
(http://ecx.images-amazon.com/images/I/51DG8WS66FL._SS500_.jpg)
Worth owning for Wunderlich's Tamino alone.
Thanks!
Apart from Wunderlich, how would you assess the others singers? From what I recall, I was very disappointed by the ladies' singing.
Quote from: Lilas Pastia on October 19, 2008, 08:38:44 AM
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.
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.
I'm listening to the 1937 Beecham and enjoying it immensely. 0:)
I enjoyed the Beecham well enough that I'm now sniffing around a Bohm recording, supposed to be one of the best.
Quote from: mn dave on January 15, 2010, 06:01:31 AM
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.
How about Sir charles Mackerral? :D
Quote from: Tsaraslondon on January 15, 2010, 10:28:57 AM
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.
Quote from: Brahmsian on January 15, 2010, 10:31:18 AM
How about Sir charles Mackerral? :D
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
Thanks for your valuable input, my friend.
Quote from: Brahmsian on January 15, 2010, 10:31:18 AM
How about Sir charles Mackerral? :D
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.
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
Quote from: knight on January 15, 2010, 01:21:26 PM
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.
That's the one I was referring to. I didn't know he had revisited MF - and in English at that :P
(http://ecx.images-amazon.com/images/I/41YHM5MC9RL._SS400_.jpg)
Quote from: knight on December 22, 2007, 11:59:22 PM
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
(http://ecx.images-amazon.com/images/I/41PH8F4RB7L._SL500_AA240_.jpg)
Quote from: DarkAngel on January 17, 2010, 05:34:26 AM
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
(http://ecx.images-amazon.com/images/I/41PH8F4RB7L._SL500_AA240_.jpg)
Four more years...before it's in the public domain. From day one, cheap reissues will pour forth :D
Try these sources, they seem reasonable,
http://www.amazon.co.uk/s/ref=nb_ss?url=search-alias%3Dclassical&field-keywords=magic+flute+klemperer
Mike
Pretty reasonable here too
http://www.mdt.co.uk/MDTSite/pages/search/searchresults.asp?sGeneralSearch=zauberflote+klemperer&sGeneralSearchSection=General&x=0&y=0&startfrom=1&sCatalogueNumber=&submitflag=true&sMSLSort=Filter2Date+DESC,+ProductView+DESC,+SaleView+DESC&bSortBy=DESC&serial=10011830080969417 (http://www.mdt.co.uk/MDTSite/pages/search/searchresults.asp?sGeneralSearch=zauberflote+klemperer&sGeneralSearchSection=General&x=0&y=0&startfrom=1&sCatalogueNumber=&submitflag=true&sMSLSort=Filter2Date+DESC,+ProductView+DESC,+SaleView+DESC&bSortBy=DESC&serial=10011830080969417)
[fixed link - Maciek]
Who is your favourite Queen of the Night in Mozart's The Magic Flute? If there are several, name them and say what is it that you like most in every one of them. :) The performance of the opera as a whole can be dreadful, you may pick the short appearance of the Queen irrelevant of that.
And which performance of this opera on disc is the one you prefer?
I love Zauberflote, but it falls flat for me if a hint of seriousness comes into the production. It has to be a campy farce. This is by far my favorite. Diana Damrau in the Opus Arte DVD
http://www.youtube.com/watch?v=7EUOmdxo2jE
http://www.youtube.com/watch?v=DvuKxL4LOqc
Some singers turn the Queen into an angry doll, or they get round the notes with little expression. Sumi Jo falls into the latter category. An excellent technique, but not hot on expressiveness.
Of the versions I know, my favourite is Lucia Popp, she combines all the qualities needed, formidable, but with beauty of tone and a great technique.
Mike
Diana Damrau certainly gets round the notes in the excerpts on youtube, though she doesn't entirely avoid the angry doll trap.
On the two recordings I own, Roberta Peters (on Bohm's DG set) is shrill, though she does at least sound dangerous. Natalie Dessay (on the Christie) is accurate, but completely devoid of expression (strange for someone noted for her acting).
I'd second Mike's vote for Lucia Popp, the best I've ever heard. Interesting to note that she went on to become one of the best of Paminas.
Quote from: Tsaraslondon on January 20, 2010, 09:05:05 AM
Diana Damrau certainly gets round the notes in the excerpts on youtube, though she doesn't entirely avoid the angry doll trap.
On the two recordings I own, Roberta Peters (on Bohm's DG set) is shrill, though she does at least sound dangerous. Natalie Dessay (on the Christie) is accurate, but completely devoid of expression (strange for someone noted for her acting).
I'd second Mike's vote for Lucia Popp, the best I've ever heard. Interesting to note that she went on to become one of the best of Paminas.
"Singing doll?" It's hard to imagine that there are subtleties that can be missed in a character called "The Queen of the Night." ;D
Natalie Dessay........now this is something I intended to write on another thread, but did not. I enjoy watching Dessay. I have her of=n a couple of DVDs and went to one of the Met broadcasts to see her and she was wonderful. But; I have two CDs and can't get much pleasure from simply listening to her. My opinion is that seeing her is adding substantially to the experience. Only listening to her, you understand how devoid of vocal colouring she is.
Mike
Quote from: Scarpia on January 20, 2010, 09:41:35 AM
"Singing doll?" It's hard to imagine that there are subtleties that can be missed in a character called "The Queen of the Night." ;D
'Angry' doll, rather than 'singing' doll. The angry ones sound like they are extremely displeased to be shaken so hard and fast that they emit a fast stream of angry notes like a machine gun. The words don't register.
Add in Rita Streich, a delightful singer. In this part she is fast but not furious.
Mike
Quote from: knight on January 20, 2010, 09:48:13 AM
'Angry' doll, rather than 'singing' doll. The angry ones sound like they are extremely displeased to be shaken so hard and fast that they emit a fast stream of angry notes like a machine gun. The words don't register.
Add in Rita Streich, a delightful singer. In this part she is fast but not furious.
Mike
Yes, angry, typo.
Sie kommt!! :o
(http://www.jpc.de/image/w600/front/0/0794881966721.jpg)
BBC Review
Jacobs's account is a game-changer: we will never listen to this the same way again.
Graham Rogers 2010-08-25
It's a much-abused term, but for once nothing else will do: René Jacobs's new recording of Die Zauberflöte (The Magic Flute) really is a revelation. The opera's unique blend of high art and popular entertainment – combining a paean to Enlightenment values with romance and earthy comedy – is not easy to pin down, but Jacobs's theatrical flair ensures a triumphant success. If you think you know Zauberflöte, think again: Jacobs brings it to life like never before.
One of the set's greatest strengths is the vibrancy of its spoken dialogue (complete). Avoiding po-faced recitation, Jacobs encourages his cast to give colourful performances in 18th century Viennese style. Many of the Three Ladies' lines are even delivered in sing-song declamations: the musical cries of "Sie kommt!" which herald the Queen of the Night's arrival are marvellously hysterical. Scenes are further enlivened by stylishly improvised fortepiano accompaniments (Mozart himself directed the first performances from the keyboard) and a wind machine and array of thunder-boards help create a wonderfully homogenous atmosphere.
With a generally youthful cast boasting some lovely voices, the music is equally captivating. Jacobs is all about excitement and making the most of orchestral detail: the breakneck overture only manages to stay on the rails thanks to stunning playing from the Akademie für Alte Musik Berlin; the ferocious sturm und drang of the opening number is spine-tingling. There's sensitivity too, in the heartrending arias for Pamina (Marlis Petersen) and Tamino (Daniel Behle). Daniel Schmutzhard's lively Papageno is a delight.
Jacobs's idiosyncratic flexibility with tempi and articulation results in some striking emphasises, but also some disjointed moments – such as the jarring pauses between each phrase of the magic bells melody in Act 1. The ad lib bells continuation after the chorus of beasts has tra-la-la-ed off stage, however, effectively bridges the often awkward hiatus before the sublime duet "Könnte jeder brave Mann".
The sound is vivid and well-balanced, and the lavish accompanying booklet (which smells bizarrely – magically? – of marzipan), contains detailed notes and full libretto.
There are many magnificent Zauberflöte recordings, and this new one certainly isn't the last word, but no one else offers such an engagingly theatrical experience. Full of surprises, Jacobs's account is a real game-changer: we will never listen to this multi-faceted masterpiece in the same way again
Quote from: Que on November 06, 2010, 07:27:32 AM
One of the set's greatest strengths is the vibrancy of its spoken dialogue (complete).
A different take:
"In this production Jacobs has restored every line of Schikaneder's dialogue. Despite quick tempos, the performance comes in at 10 minutes short of three hours. There is seven minutes of dialogue between "Der Vogelfäder..." and "Dies Bildnis" and another six before "Bei Männern", made no less tedious by the pianoforte's replaying of the "Bildnis" aria under Papageno's and Pamina's conversation. And there are another dozen non-musical stretches, each averaging close to three minutes. If you don't speak German, and don't find Schikaneder's text particularly riveting (which you won't, particularly after the first hearing, even if you do speak German), you will find yourself pressing the fast-forward button--which sometimes fools you because aria and text are on the same track."--Robert Levine, ClassicsToday
Sarge
I was afraid of that. I bought the Abbado and when I reviewed it here I gave it a top recommendation for modern recordings, partly because he manages the dialogue in a lively manner. Nevertheless, there are longueurs of speech in Act 2 and there is nowhere near the quantity that Jacobs supplies. I think I will keep my credit card in my pocket for now.
Mike
Quote from: knight on November 06, 2010, 07:48:11 AM
I think I will keep my credit card in my pocket for now.
Mike
Me too. In the theater, I enjoy the dialogue, the action. But on record...well, I turn most often to Klemperer ;)
Sarge
Yes, Klemperer remains my touchstone. The Engllish language Mackerras version is excellent and the Abbado I have praised. I also have the elderly mono Karajan version...as do you, then there is the exciting Fricsay set...so I am hardly starved for Magical Flutes.
Mike
Quote from: knight on November 06, 2010, 08:16:52 AM
Yes, Klemperer remains my touchstone. The Engllish language Mackerras version is excellent and the Abbado I have praised. I also have the elderly mono Karajan version...as do you, then there is the exciting Fricsay set...so I am hardly starved for Magical Flutes.
Mike
Fricsay is marvelous. My imagination is is incapable of conceiving a recording by Klemperer being good. :-\
Well, it does not contain laughs. But neither is it ponderous, rather it is serious. There are some aspects of his way with the score that I prefer above all others. Hand in hand with his insights go the astonishing cast. I don't think it has been equaled on disc. Apart from the sets above, I have had several others pass through my hands. But, if you are so happy with the Fricsay, then why explore.
I was thinking about this duplication issue the other day. I have more than one version of most of my favourite operas. Fidelio; can't get enough. same for Tristan, Carmen, Don Carlos. But then; for Peter Grimes I have Davis with Vickers and Heather Harper. For that piece I cannot imagine it being performed more to my taste. So, it sits as a sole representative of a masterpiece.
Mike
Quote from: Scarpia on November 06, 2010, 08:18:38 AM
Fricsay is marvelous. My imagination is is incapable of conceiving a recording by Klemperer being good. :-\
Not good...the
best. ;)
Sarge
I wish I can help myself by planning buy Beecham 1937's Magic Flute.
But there is so much version ... EMI, Nimbus, Naxos, Pearl, Conniseur, & Arkadia.
Which one will provides better sounding ???
Please inform ...
Quote from: czgirb on January 23, 2011, 04:00:30 PM
I wish I can help myself by planning buy Beecham 1937's Magic Flute.
But there is so much version ... EMI, Nimbus, Naxos, Pearl, Conniseur, & Arkadia.
Which one will provides better sounding ???
Please inform ...
Naxos's is probably the most recent remastering and with either Marston or Obert-Thorn at the engineering helm it's unlikely that the others will measure up. And Naxos generally has the lowest prices, too. A nice bonus.
Quote from: Dancing Divertimentian on January 23, 2011, 05:15:11 PM
Naxos's is probably the most recent remastering and with either Marston or Obert-Thorn at the engineering helm it's unlikely that the others will measure up. And Naxos generally has the lowest prices, too. A nice bonus.
Thank you ...
Regarding to Nimbus and EMI ... what's your opinion?
Quote from: Tsaraslondon on January 20, 2010, 09:05:05 AM
Diana Damrau certainly gets round the notes in the excerpts on youtube, though she doesn't entirely avoid the angry doll trap.
Really?! I don't quite understand the "angry doll" criticism. In over 30 years of watching and hearing the Magic Flute on all sorts of opera stages from the provincial to the Met, I have yet to see and hear a Queen more dramatically intense and believable as a character than Damrau. I will grant that the video performances with Muti and Davis are perhaps not her best. I had the pleasure of hearing her last ever Queen at the Met with Kirill Petrenko conducting. That said, her technique in the upper register, while formidable, isn't quite as solidly secure as Streich or Jo, though the former sings too prettily and the latter perhaps too unexpressively for östman, but considerably more convincingly for Solti.
Tuning into this thread reminds that I'm overdue for another hearing of Jacobs's new Flute. Think I'll clear my schedule after lunch!
Looking forward to the upcoming ROH revival - Kate Royal as Pamina - I've been wanting to hear her live for a while - she's got a ravishing voice, and is a great hope for the future.
As one of Zauberflote's fan, I own 5 different recordings of this divine work of art. Based on all I have heard so far, my conclusion is that there is no "perfect" Zauberflote recording, as with any other opera. Each has its own strengths and weaknesses.
Of course, the judgement is based on my own, amateur tastes.
Regarding to Queen of the Night ... please used link below as references:
http://www.youtube.com/watch?v=6Pe9UTxyGbk
To me ... the best Queen of the Night is:
* In Audio : Edda Moser ... for Vocal ... sorry ... I never see her stage's act
* In Vision : Diana Damrou ... for both Vocal & Act
Judgement is based on my own, amateur tastes ... not others
I'm a great fan of Lucia Popp's recording - as I am with most of her Mozart singing.
Damrau is underpowered in this role and almost killed herself doing it. She creates the character very well though.
Try Wilma Lipp on Walhall (Keilberth) - the Pamina (Stich-Randall) and Speaker (Hotter) are also to die for. Popp sings beautifully, but a bit neutrally for my taste.
Quote from: Guido on January 26, 2011, 04:31:59 AM
Damrau is underpowered in this role and almost killed herself doing it. She creates the character very well though.
"Underpowered" depends on the size of sound you're looking for in terms of the orchestra and the opera as a whole. "Almost killed herself" I don't think so. I saw her live at the Met. She was nowhere near redlining the engine, so to speak.
Quote from: Tsaraslondon on January 20, 2010, 09:05:05 AM
I'd second Mike's vote for Lucia Popp, the best I've ever heard. Interesting to note that she went on to become one of the best of Paminas.
''
Ach ich fühl's that you are right.
Quote from: czgirb on January 24, 2011, 11:17:10 PM
Thank you ...
Regarding to Nimbus and EMI ... what's your opinion?
I haven't heard either transfer but if I had to choose "blind" I'd probably pick EMI.
http://www.youtube.com/v/H_xfC9RXicU&feature=related
Not the best sound in the clip, but suffices to give a good idea of just how good Erika Miklósa is in the role. Nice also to hear it at a decent tempo, thanks to Minkowski conducting. Jo for Östman holds up well but is too pretty--Miklósa & Damrau get the emotional tone right.
Kaappola for Jacobs is quite good, even slowed down a bit as can be seen here with Colin Davis at 8:49
http://www.youtube.com/v/IR8GFUTMP_E
Quote from: DavidRoss on January 26, 2011, 08:56:48 AM
http://www.youtube.com/v/H_xfC9RXicU&feature=related
Not the best sound in the clip, but suffices to give a good idea of just how good Erika Miklósa is in the role. Nice also to hear it at a decent tempo, thanks to Minkowski conducting. Jo for Östman holds up well but is too pretty--Miklósa & Damrau get the emotional tone right.
That Minkowski Flute is a terrific La Fura dels Baus production from a recent Ruhr Triennale! They did away with the dialogues and replaced it with some weird voiceover. That may not be everyone's cup of tea, but the visuals of the production are like nothing else you've seen. (The three ladies with the glowing blue boobs and vaginas are also 'special'. ) If you're a member of operashare, someone uploaded the video of the entire thing there a while back. It is also noteworthy for Genia Kühmeier as a superb Pamina, IMHO the best currently active Pamina, though her performance for Minkowski isn't the greatest I have heard from her.
I'm not too impressed with Miklosa, I must say. She has the drama, but not the security of intonation around the top of her range. And her German diction is god-awful, hopelessly infused with a Hungarian accent. You can hear her in resplendent sound on Abbado's recording, which features Christoph Strehl, perhaps the best currently active Tamino. To really hear Sumi Jo at her best in this role, you have to hear Solti's recording. I have never undestood people's infatuation with the Östman recording. He conducts everything incredibly fast and without any slightest bit of rubato whatsoever, may the singers breathe where they manage. It's, dare I say it, unmusical to my ears. That Jo manages to hit the notes at all at this breakneck tempo is astounding enough, for emotion there simply isn't the time. She's much more dramatic on Solti's recording.
Quote from: czgirb on January 25, 2011, 05:26:56 PM
As one of Zauberflote's fan, I own 5 different recordings of this divine work of art. Based on all I have heard so far, my conclusion is that there is no "perfect" Zauberflote recording, as with any other opera. Each has its own strengths and weaknesses.
Of course, the judgement is based on my own, amateur tastes.
Regarding to Queen of the Night ... please used link below as references:
http://www.youtube.com/watch?v=6Pe9UTxyGbk
To me ... the best Queen of the Night is:
* In Audio : Edda Moser ... for Vocal ... sorry ... I never see her stage's act
* In Vision : Diana Damrou ... for both Vocal & Act
Judgement is based on my own, amateur tastes ... not others
Yesterday ... I've been remind by my wife that I brought Ficsay with me.
So I tried ... and revised my list for the best Queen of the Night ... it shall be held by
Ficsay's Rita StreitchThough the record is
mono ... but I like her
voice ...
Or maybe because mono is match to this part ... I don't know ::) ::) ::) ::) ::)
Quote from: czgirb on January 27, 2011, 07:11:44 PM
Yesterday ... I've been remind by my wife that I brought Ficsay with me.
So I tried ... and revised my list for the best Queen of the Night ... it shall be held by Ficsay's Rita Streitch
Though the record is mono ... but I like her voice ...
Or maybe because mono is match to this part ... I don't know ::) ::) ::) ::) ::)
Streich really is a marvel!
You might be interested in this:
[asin]B0000U1NGU[/asin]
and Fricsay's Entführung, where she sings the part of Blonde:
[asin]B000006144[/asin]
Whether she holds the title of "best Queen" I'm not entirely sure for two reasons: 1. she makes up her own rhythm in the plaintive middle part of the coloratura bit in "Der Hölle Rache"; 2. she just sings to beautifully - I don't buy it from her that she is threatening to disown her daughter and cast her away to be a "daughter of nature".
Quote from: Mensch on January 28, 2011, 07:15:22 AM
Streich really is a marvel!
You might be interested in this:
[asin]B0000U1NGU[/asin]
Streich is a marvel ... and I love her voice in
Mozart's Magic Flutebut for your recommendation ...
8-CDs ... No thanx
Thank you for your recommendation.
I keep looking at this thread and then I go onto Amazon to see whether anyone is selling the Jacobs set for a steal. My thinking is that I get hold of it and load it onto my iPod withought most of what I gather is the extended and fairly tedious dialogue. So far, it is still too costly for me.
So, I consol myself right now listening to the delightful English Language version conducted by Mackerras. A marvelous set if you can accept a translation.
Mike
Quote from: knight on January 29, 2011, 05:17:24 AM
I keep looking at this thread and then I go onto Amazon to see whether anyone is selling the Jacobs set for a steal. My thinking is that I get hold of it and load it onto my iPod withought most of what I gather is the extended and fairly tedious dialogue. So far, it is still too costly for me.
I don't have the recording, but according to what I have read, you can't do that because in most cases the dialogue is on the same track as the musical numbers and sometimes run into one another.
Oh Mensch....(never thought I would get to write that phrase), thanks.....'I think I'll have to think it out agan.'
Mike