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Most Helpful Customer Reviews
18 of 18 people found the following review helpful
Format:Audio CD
This is a very satisfying account of 'Die Zauberflote', principally on account of Bohm's handling of the score. He inspires the Berlin Philharmonic to convey a Masonic 'gravitas' which is in keeping with the philosophy of Enlightenment Reason which lurks behind the pantomime elements of this unusual work. You will certainly find deliberate speeds here, which may not be to your taste if you like fleet,revisionist, original-instrument Mozart. Vocally it's the women in this recording that have had a bad press: but Evelyn Lear has some lovely tones in her voice even if there are occasions when Pamina's music presents her with challenges. If you want perfection in this part, go for Janowitz on the Klemperer recording (but be warned, that has no dialogue). Similarly you may feel that Klemperer's young Lucia Popp easily outclasses Roberta Peters as Queen of the Night. But Peters still has pin-point accuracy and presents Pamina's mother as an icy, calculating customer. It's all a matter of taste.
Klemperer's Sarastro on the other hand, Gottlob Frick (well-known for his brilliant Hagen in Solti's Gotterdammerung) is really having an off day, fluffing one of his lower notes in Act 1 seriously. Franz Crass on this recording, sounding younger than the average Sarastro, has all the notes and the firmness too.
Wunderlich's Tamino for Bohm has been praised to the skies and rightly so; Fischer-Dieskau's delightful Papageno is a winner as is his destined partner Lisa Otto as Papagena. Admittedly Bohm's Three Ladies are adequate rather than distinguished and it is a disappointment having female singers as the Three Boys (though they make a fair stab at it). Much depends on the kind of approach which suits you in this opera. For overall vision however this recording is still hard to beat. The sound is excellent and you are drawn into the semi-secret rituals of Mozart's late masterpiece in the German singspiel style.
Klemperer's Sarastro on the other hand, Gottlob Frick (well-known for his brilliant Hagen in Solti's Gotterdammerung) is really having an off day, fluffing one of his lower notes in Act 1 seriously. Franz Crass on this recording, sounding younger than the average Sarastro, has all the notes and the firmness too.
Wunderlich's Tamino for Bohm has been praised to the skies and rightly so; Fischer-Dieskau's delightful Papageno is a winner as is his destined partner Lisa Otto as Papagena. Admittedly Bohm's Three Ladies are adequate rather than distinguished and it is a disappointment having female singers as the Three Boys (though they make a fair stab at it). Much depends on the kind of approach which suits you in this opera. For overall vision however this recording is still hard to beat. The sound is excellent and you are drawn into the semi-secret rituals of Mozart's late masterpiece in the German singspiel style.
19 of 20 people found the following review helpful
Format:Audio CD
Nothing short of superb. The singers are brilliantly chosen, even though casting three such powerful ladies as the three boys (instead of three boys...) might seem a bit of an overkill (and if you want to be really gripy about it, I think Gottlob Frick is a better Sarastro than Franz Crass), but still, Fritz Wunderlich will never be surpassed as Tamino, and who better than Fischer-Dieskau as Papageno, even though the world never got to see him in this part on stage because of his height. If you are looking for a recording of the magic flute this should be your first choice. It's even out on bargain, so there is no contest.
14 of 15 people found the following review helpful
Format:Audio CD
I have known about this recording for 30 years but have only just got round to listening to it - I have other recordings of this wonderful opera to listen to.
However, I have missed out on a truly wonderful experience for such a long time.
I can hardly put into words my joy at listening to such an almost perfect production. First of all, Karl Bohm conducts with such understanding of the score and puts across a dramatic and I would say serious performance (although not without its light touches). The orchestra is the Berlin Philharmonic. There is also some wonderfully sonorous singing from the RIAS Chamber Choir.
In my view any opera recording ultimately stands or falls on the quality of the solo singing from the main characters. Fritz Wunderlich is the Tamino par excellence - such a stream of golden tone and such intelligent singing - WOW! Evelyn Lear has a slightly heavier voice for Pamina than many but she makes the character seem more positive. She gives the aria, Ach, ich fuhls, much more pathos than many. Dietrich Fishcher-Dieskau, as per usual, gives a keenly intelligent and perceptive rendition of Papageno. He a more honeyed voice at this stage of his career. I would have liked slightly more humour in his singing of this role though. Roberta Peters also gives an intelligent rendition of the Queen of the Night's music. I found myself listening to her singing for its musical rather than its technical qualities. Some reviewers have been disappointed by Franz Crass's Sarastro: I was not. He sings on this recording with gorgeous tone and a real lyricism. This is not just a dour authority figure.
The minor parts are sung just as well. To pick out 2. Lisa Otto sings the part of Papagena wonderfully - I loved the half-tone she uses at the end of Act II when she is finally united with Papageno. I also like Friedrich Lenz's Monostatos. He sings with a fuller tone than many singers in this part and reminded me a bit of Robert Tear.
Anyway, I hope that others try out this particular recording - I can't think anyone would be disappointed.
I love writing reviews. I would love to know whether anyone reads them, so if you do, please indicate whether or not you approve of my comments or better still, make your own comments.
However, I have missed out on a truly wonderful experience for such a long time.
I can hardly put into words my joy at listening to such an almost perfect production. First of all, Karl Bohm conducts with such understanding of the score and puts across a dramatic and I would say serious performance (although not without its light touches). The orchestra is the Berlin Philharmonic. There is also some wonderfully sonorous singing from the RIAS Chamber Choir.
In my view any opera recording ultimately stands or falls on the quality of the solo singing from the main characters. Fritz Wunderlich is the Tamino par excellence - such a stream of golden tone and such intelligent singing - WOW! Evelyn Lear has a slightly heavier voice for Pamina than many but she makes the character seem more positive. She gives the aria, Ach, ich fuhls, much more pathos than many. Dietrich Fishcher-Dieskau, as per usual, gives a keenly intelligent and perceptive rendition of Papageno. He a more honeyed voice at this stage of his career. I would have liked slightly more humour in his singing of this role though. Roberta Peters also gives an intelligent rendition of the Queen of the Night's music. I found myself listening to her singing for its musical rather than its technical qualities. Some reviewers have been disappointed by Franz Crass's Sarastro: I was not. He sings on this recording with gorgeous tone and a real lyricism. This is not just a dour authority figure.
The minor parts are sung just as well. To pick out 2. Lisa Otto sings the part of Papagena wonderfully - I loved the half-tone she uses at the end of Act II when she is finally united with Papageno. I also like Friedrich Lenz's Monostatos. He sings with a fuller tone than many singers in this part and reminded me a bit of Robert Tear.
Anyway, I hope that others try out this particular recording - I can't think anyone would be disappointed.
I love writing reviews. I would love to know whether anyone reads them, so if you do, please indicate whether or not you approve of my comments or better still, make your own comments.
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Most Recent Customer Reviews
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