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Mozart: Die Zauberflöte - Highlights

1. Januar 1970
5.0 von 5 Sternen 1 Kundenrezension

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Mozart: Die Zauberflöte - Highlights
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Produktinformation

  • Ursprüngliches Erscheinungsdatum : 1. Januar 1970
  • Erscheinungstermin: 18. Mai 1998
  • Label: Decca
  • Copyright: ℗ 1970 Decca Music Group Limited © 1998 Decca Music Group Limited
  • Erforderliche Metadaten des Labels: Musik-Datei enthält eindeutiges Kauf-Identifikationsmerkmal. Weitere Informationen.
  • Gesamtlänge: 1:13:09
  • Genres:
  • ASIN: B001SSZR7E
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen 1 Kundenrezension
  • Amazon Bestseller-Rang: Nr. 184.241 in Alben (Siehe Top 100 in Alben)

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Von Ein Kunde am 10. Dezember 1999
Format: Audio CD
Mozarts Opern gehören nicht von ungefähr auch heute noch zu den meistgespielten und völlig zu recht so beliebten Werken dieses Genres. Ein absolutes Highlight ist selbstverständlich "Die Zauberflöte". Die Handlung ist wohlbekannt und bedarf keiner weiteren Erläuterung. Sehr wohl hervorzuheben sind die Vorzüge dieses Werkes. Dirigent Sir Georg Solti versteht es meisterhaft, die Finessen und Feinheiten, die dieses Werk bietet, dem geneigten Hörer zu Gehör zu bringen. Die Riege der Solisten ist hochkarätig besetzt. Besonders ist hier Hermann Prey als Papageno zu nennen, einer der wenigen großen Bariton-Stimmen, die Deutschland je zu bieten hatte. Nachteilig fällt auf, daß dem Werk nur eine Analogaufnahme zugrundeliegt und dementsprechend stets ein deutliches Rauschen den Musikgenuß trübt. Insgesamt ist die CD kein schlechter Kauf. Die Interpretation und die Leistungen der Solisten lassen über technische Schwächen gerne hinwegsehen. (Dies ist eine Amazon.de an der Uni-Studentenrezension.)
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5.0 von 5 Sternen The "Solti Zauberflote": A Different Kind of Magic 19. April 2008
Von Opera Mystery - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
ABOUT THE ALBUM: Die Zauberflote (Wolfgang Amadeus Mozart) Recorded at The Sofiensaal, Vienna, September and October 1969/Cover Artwork: A carpet entitled "Work" 1760, Artist Unknown From A Masonic Lodge, Album Released 1970; THE CAST: Stuart Burrows (Tamino) Hermann Prey (Papageno) Martti Talvela (Sarastro) Christina Deutekom (Queen of the Night) Pilar Lorengar (Pamina) Yvonne Minton (Second Lady) Hanneke Van Bork (First Lady) Hetty Plumacher (Third Lady) Gerhard Stolze (Monostatos) Rene Kollo (First Armed Man) Hans Sotin (Second Armed Man) Renate Holm (Papagena)...Vienna Philharmonic, Conductor Georg Solti.

George Solti's Take On The Magic Flute: Here's the thing: despite the dozens upon dozens of available Mozart's Magic Flute albums, operaphiles sate their curiosity by listening to this attractive recording from 1969 under the baton of Georg Solti. It's by no means the most perfect recording or a "dream Magic Flute" but it ranks as one of the top ones right along with the albums already largely considered the best. The reasons owe more to its musical merit, musicality and fine efforts by the singers, chorus, orchestra and conductor. Georg Solti was not exactly a definitive opera conductor and like Herbert Von Karajan, specialized mostly in symphonies and classical music with an interest and foray into opera. At this time in the late 60's, he was already very accomplished and well known as a conductor, both in Europe and America, with the first phase of his career experience behind him. He would not slow down (again like Karajan) until the 1980's/early 1990's, when he passed away. Georg Solti had already recorded the complete Nine Symphonies of Beethoven (the Ninth featured soloists/singers that feature in this Magic Flute: Talvella, Lorengar, Minton and Burrows) not to mention the first "studio Wagner Ring Cycle" which was the highlight of his entire career. For him to take on Mozart's The Magic Flute, a very different style of opera - both grand and intimate, light and dark, comical, spiritual, warm, and divine, was quite the challenge and a decidedly inspired effort. What makes this Zaubeflote stand out from the others is the orchestral touches and the more leisurely and slow pacing. Solti's signature was slow-paced conductor, really taking his time for audiences to listen to every note, sound, color and detail, like putting together art "live" for you. There is more color and tone as consequence, the score treated like some elongated Mozart symphony, each phrase and each aria accompaniment more grand and elaborate than other versions, particularly because the Vienna Philharmonic is one of the bigger ones (like the Berlin Philharmonic). Solti may not bring out all of the magic, but it's still a beautiful score and highly recommended. Another reason this recording is still admired is the chorus. Norbert Balasch is the chorus master and here the Vienna chorus is bigger, louder, more poignant and more beautiful, worthy of a Mass chorus or cathedral chorus, providing this Magic Flute with the right kind of spiritualism. Still economically balanced, it sounds as if it really is the original Freemason's Opera that Mozart and his librettist Schikaneder envisioned; a fable, a fairy tale of the Enlightenment Era, praising mankind's ability to love and work together for peace and harmony and shunning corruption, revenge, hatred and evil. These dueling forces of good versus evil are represented by the Sun worshipping/pseud-Egyptian, Jesus-like Sarastro and his Brotherhood, of which Tamino and Pamina are the newest royal initiates and even future leaders, and the Queen of the Night (ignore the sexist connotations of a woman in power) her mysterious Three Ladies and the Moor Monostatos, who represent evil, the senses, the flesh, vice and abuse of power.

ABOUT THE SINGERS: First we have the men. Stuart Burrows was a lyric tenor in every sense of the word. His specialities were the bel canto operas. Operaphiles may recognize him from his recordings of Donizetti's Anna Bolena with Beverly Sills for Deutsche Grammophone and for his Hoffman from Offenbach's Tales of Hoffman also with Sills, for his Alfredo from Verdi's Traviata and for various other romantic tenor roles. His "Dies Bildnis" has to come down as one of the best. His was a voice that was not powerful in the dramatic sense (he's no Mario Del Monaco, Franco Corelli or Jon Vickers nor one capable of more dramatic repetoire like Placido Domingo or Pavarotti) but it was a highly refined voice, polished, rich, vibrant and whenever he was able to, he summed up force and strength into the voice to sound appropriately heroic. Never have I heard him sing with this style of forced heroism than as Tamino. While other tenors sing Tamino as a shy, sweet Prince or a wimp, Burrows makes Tamino heroic, bold and strong. Martti Talvela sang mostly the deep bass voices in opera and chorales and enjoyed a long career doing this. Blessed with a really deep, dark and mannered lyrical voice, he was a real audience pleaser in both opera, Masses, choral symphonies and chorales. His interpretation of the Jesus-like King Sarastro is a decent performance, even if it's not especially striking like the Sarastro of Kurt Moll (who hails as the best). Talvella's voice focuses more on beauty and purity of line than on character. This is not always a good thing but his singing is always attractive and right on the money. You have to really have patience and discipline acquired by experience attending many operas to sit and listen to Sarastro's long-winded arias. Hermann Prey, too, is of this same kind of mostly lyric baritone singer who, educated in the old school German fashion, sings to sound elegant but sacrifices character. Fortunately, his Papageno is a bigger effort this time and you can hear him slipping into character, even if all we hear in the highlights is his Introduction Aria Der Vogelfanger and Ein Madchen oder Weibchen and the duet with Papagena. The plus side is Hermann Prey is the true Mozart type of voice, and he had already proven himself a worthy Mozartian baritone (by blood seemingly) in his previous Mozart recordings of Seraglio, Le Nozze Di Figaro, Cosi Fan Tutte and Don Giovanni. This is a fine Papageno, full of nuance and vocal expression and beauty as descriptive of a true lyric baritone. It's almost a shame we don't get to hear (On this Highlights/excerpts album) what Prey does with the scene in which Papageno attempts suicide. A truly great Papageno sings this aria to evoke sadness, pity and a sense of melancholy tragedy, making us feel for this very human character. The other male singers here to note are Hans Sotin and Rene Kollo as the Two Armed Men who stand at the Gates of the Trials of Fire and Water. Normally, these parts are sung in bland, uninteresting manner (who cares right ? They're just minor characters) but Sotin and Kollo are not just anyone. Hans Sotin achieved success as a Wagnerian bass and he is heard in the Georg Soltistudio Ring of the Nibelung recordings. His is a voice with the true mark of a Wagnerian bass. Rene Kollo, too, enjoyed success as a Wagnerian tenor and would go on to perform many Wagner operas including a fine Tristan. Together, Kollo and Sotin as the Armed Me in this recording do something which operaphiles ears usually miss. They join in Tamino and Pamina's song as they cross the Trials and rhapsodize about their confidence and the joys of goodness. While it's writen that the Armed Men have to join in, some are usually drowned out by the principals Tamino and Pamina. Not here. There is beautiful, wonderful and perfect harmony and you hear four distinct voices - Tamino, Pamina and the two Armed men.

Pilar Lorengar's Pamina is a sweet, honeyed voice, again we are hearing the old school Mozart soprano school. Lorengar, like her contemporaries Hermann Prey, Dietrich Fischer Dieskau, Gundula Janowitz and Elisabeth Schwarzkopf, sang mostly Mozart heroines. She focuses on purity of tone, beauty and expression, but she is (in this recording) trying to capture some character, especially Pamina's own royal heritage. This is one quality few sopranos give Pamina with their voice. Sure, Pamina has some beautiful soprano arias, the best being "Ach Ich Fuhls, but Pamina's character (read the translation to her arias in the libretto) reveals something more. She's not just a damsel in distress. She's wise (much wiser for example than Papageno whom she advices to be patient and wait for his true love in the duet " Bei Manern Welche Liebe". She is written to sound more like one of the heroines in Mozart's opera serias and we hear her sing what could almost fit as a bel canto heroine's parts especially in the scenes with Saraastro such as her exclamation "Herr ! Ich bin zwar Verbreherin" or the magnificent way she calls "Tamino.." as she reunites with him before the Trial of Water and Fire. She moralizes and she praises the joys of love, brotherhood, harmony and she's very spiritual, as if already a Freemason herself. Pamina, like Tamino, is transformed from innocent and unknowing to wholly enlightened. She had to overcome her own sense of despair (she believes Tamino rejects her love)which drives her to an attempted suicide. Note for instance her wise words, echoing those of Sarastro (who in some versions is revealed to be her father) in the Trial of Fire and Water scenes in which she walks with Tamino through darkness while he plays his magic flute: " In every place, I will be with you, I myself shall lead you for Love guides me! It will strew the way with roses for roses are oft found with thorns". The only other true Pamina I have heard is that of Anneliese Rothenberger whose dramatic and expressive voice was also mannered in the charming style of the old ways and beautiful to boot. The only other female singer here worth mentioning is a young Yvonne Minton as the Second Lady. Yvonne's voice is always good no matter what she sang and her mezzo soprano is endowed with dark sensuality and dramatic registers. Her Second Lady is a very small role but it would not be long before Yvonne became a soprano and a real star in her own right, even to the point in which she would sing a really great Kundry in Wagner's Parsifal.

Christina Deutekom raises eyebrows.

A soprano in a category all her own, she had a long and impressive career singing not only the Queen of the Night but highly dramatic and heavy soprano roles like Abigaille in Verdi's Nabucco and Bellini's Norma. Still, her huge voice was endowed with the magic of the lyric-coloratura capabilities so that she was able to sing Violetta in Traviata and Donizetti's Lucia. The Queen of the Night heard here is a young Deutekom who was enjoying the initial success of her Queen role. The only reason her Queen is so maligned, judged and criticized is the style in which she employs the coloratura which not many are accustomed to hearing. Rather than the full-mouthed "aah" sound up in the head voice, she distorts the sounds to make a "gah" sound which gives the effect that she's gargling or mimicking Popeye's laughter. The unusual and very funny way she sang the coloratura trills that finalize "O Zittre Nicht" actually elongated her career and made her very well known. Despite all the jokes, the long soprano passages in O Zittre Nicht (nearly five minutes) before the coloratura finish is sung with dignity, majesty and ominous eeriness, as expressed in the darkness that seems to fill the opening bars. This is our first glimpse of the Queen and she's supposed to come off as mysterious and dark. This is the way it should be sung or like Rita Streich in the Fricsay recording) sad, melancholy, but deceptively so, an act, as the Queen lies to Tamino pretending to be a victim, a mother whose daughter was kidnapped. While Deutekkom doesn't provide this "sad" pretentiousness, she does provide the aria with dark color and strageness. Her Queen of the Night is still a role she is most remembered for. We must give her credit. Hers is still a Queen sung in the way Mozart wrote. Mozart did not intend for a light voice, no matter how right-on-the-mark her high F's are, to sing this with a sweet voice. The Queen is not sweet-talking her daughter Pamina to kill Sarastro, she is demanding his blood! She is raging ("Der Holle Rache Kocht in Meine Herzen "The Wrath of Hell burns in my heart" ) furious, frustrated at her impending doom (in the finale)
she urges Pamina to join the dark side. Thus, her voice must be dark, wicked and powerful sounding, and only a very very small number of sopranos sing it this way. Another way to look at it is you gotta remember that the Queen is Sarastro's arch enemy, his direct antithesis, his mighty opponent, Satan (for Sarastro) so she must be sung as powerfully in her own way as Sarastro is in his. Deutekom may not have the proper coloratura but she does sing all the other non-F hitting parts of Der Holle Rache with dramatic and majestic intensity. If you still don't like Deutekom, than the most true Queen of the Night is sung by Edda Moser on the 1970's album with the Bavarian State Opera Munich Orchestra under Wolfgang Sawallisch. Her coloratura is perfect and she sings with character integrity to the point of sounding not only appropriately dramatic and intense but very Wagnerian.

For beginners, this is a fine Magic Flute. If you don't care for its Queen, then check out the albums already mentioned by other reviewers including the much loved album with the right-on-target Lucia Popp as the Queen, Elisabeth Schwarzkopf as Pamina (a more dignified Pamina you'll be hard-pressed to find) Nicolai Gedda as an elegant Tamino or the recording with Edda Moser (the Best Queen ever) Peter Schreier, Anneliese Rothenberger and Kurt Moll. There is also the Ferenc Fricsay recording, by a master conductor of Mozart who had already done Figaro, Seraglio and Don Giovanni with success (the Queen in that recording is Rita Streich), there is also Solti's 2nd recording of Zauberflote with Sumi Jo, another beloved "Queen of the Night" or browse through various other Zauberflotes with singers you always find yourself enjoying. The Magic Flute has always been considered a child's beginner's opera sure to enchant you, or a Masonic-themed opera written by Mozart the Mason with love and care, expressing his passions, beliefs and ideals for humanity in an opera that far surpasses his others in its sheer nobility and magic. You may not get all of that in this Highlights CD but there is a full-length recording album and there are many others with equally impressive orchestral touches and good singers. Enjoy
1.0 von 5 Sternen I am disappointed with this purchase 30. April 2015
Von Susan J. Zimmerman - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I wanted a certain scene from act 1 but it was not on the CD. And the case was broken. So, I am disappointed with this purchase.
0 von 3 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen less than I'd hoped for 16. September 2001
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
There is something exciting about Solti's energy in this recording. I must confess that I don't understand the enthusiasm about Deutekom. As one reviewer said, she has great staccati, but I think they are terribly exaggerated. The Queen of the Night's music is the only Italianate music in a thoroughly German opera; Deutekom conveys little sense of an Italian line, and she has a very odd way of emphasizing every note. She doesn't have the sheer heft of Moser, or the beautiful bell tones of Popp, or the extraordinary technique of Anderson.
0 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Controversial Queen 14. September 2007
Von Discophage - Veröffentlicht auf Amazon.com
Format: Audio CD
Well, there seems to be some controversy about the merits of Deutekom as the Queen of the Night. She seems to have her staunch and cantankerous supporters - and I find it quite unfair to vote "unhelpful" a review just because it expresses some criticism of her. It is not because you don't agree with an opinion that it is "unhelpful", in my view. The question is (or should be): is it substantiated?

Actually, both sides are right. In both arias I find Deutekom exceptional both vocally and in her characterization - she aptly portrays a fiery, angry, overbearing Queen - until the final coloratura runs (32nd notes in the first aria, triplets in the second). The description of it by one reviewer as "gargling mouthwash" is pretty apposite, I find - my own impression was that of a kind of yodl, as if she was inserting consonants between each note, or tapping on her mouth to interrupt the sound like kids playing Indians. The effect is fascinatingly grotesque and altogether not very pleasant. Obviously Deutekom didn't have the kind of vocal technique required to sing that kind of virtuosic runs, and it's too bad, because those few seconds (but in the first aria at least they are those everybody is braced for) ultimately give a circus freakish impression to the whole character.

For more on that and on the rest of this superb recording, see my lengthy and detailed review of the complete recording: Mozart: Magic Flute.
10 von 10 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Greatest Flute Out There! 30. April 2002
Von gellio - Veröffentlicht auf Amazon.com
Format: Audio CD
I want to start off by saying there is a "complete" recording of this set, on three cds, but it is hard to find. I believe it may be out of print. I found it a few years ago at [a local retailer]. The highlights is a good intro to it, but you all are relly missing out on something spectacular. I suggest continually checking used cd stores, ..., and so forth. You never know when it may show up.
I agree with everyone about Deutekom. I was absolutely blown away the first time I heard her sing. I disagree, highly, with the ...reviewer. I like Popp and I have her on a another great recording of Flute - but she pales in comparison to Duetekom - who sings with such determination, drive, and energy. In "Der Holle Rache Kocht" the Queen is really angry. Should she sing with beautiful tone (like Popp) being as angry as she is? Perhaps! However, Popp does not convey the emotions of an angry person. She sounds sad. The Queen is sad and angry as all get out at this point. Duetekom gives a true reading of the Queen, allowing us to get a great sense of the emotions the character is feeling. Singing with amazing beauty, yet you can sense the dispair and anger that the Queen is feeling.
The conducting is truly spectacular. I like Solti, although sometimes I do not like his conducting, but here - I have no complaints. The score seems to be conducted as intended. Truly wonderful phrasing and speed (when needed) and subtlty (when needed).
Prey gives a truly fantastic reading as Papageno. It truly is something.
The rest of the cast is definitely wonderful as well.
A real treat. Keep your eye out for the complete recording. I still cannot believe it is out of print. It's spectacular.
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