Subject: I have found a CD that I think you would enjoy
|Wolfgang Amadeus Mozart, Kurt Streit, Barbara Bonney|
Mozart - Die Zauberflöte / Streit · Bonney · Jo · Cachemaille · Sigmundsson · Hagegard · Drottningholm Court Theatre · Östman
There's magic in these musical hills, as conductor Kurt Östman leads an exemplary performance of Die Zauberflöte on original instruments.Sumi Jo's breathtaking Queen of the Night is the queen of intonation, while Barbara B... more »
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There's magic in these musical hills, as conductor Kurt Östman leads an exemplary performance of Die Zauberflöte on original instruments.Sumi Jo's breathtaking Queen of the Night is the queen of intonation, while Barbara Bonny's Pamina is a phrasing angel, from her pianissimo B flats to her gentle, yet heartfelt, "Ach ich fühl's." Singing as comfortably as a folk singer, Kurt Streit's lyrical, yet dramatic, Tamino is manly and heroic. Gilles Cachemaille is an appropriately charming Papageno, and all supporting performances are stellar. This crystal-clear interpretation must be as close to perfection as Mozart probably dreamed. A true treasure. --Barbara Eisner Bayer
Fabulous Recording, Re-released on Decca
Al Chartreux | Upper West Side, New York, New York United States | 10/09/2005
(5 out of 5 stars)
"I wanted to point out that this wonderful recording of Mozart's "The Magic Flute" was re-released on the Decca label in 2001. It's listed as an import, but Amazon has it for the reasonable price of $17.49; pretty good, considering what the older version is fetching on the used market. Enter "B00005O84D" in the search field to find it. The cover artwork and packaging are different, but the music is the same."
The box is fetching, too
S. Park | Seoul | 09/09/2000
(5 out of 5 stars)
"I bought this because I love Barbara Bonney and I love Sumi Jo (I almost died when I found out they were in my favorite opera together). Sumi has a beautiful voice and perfect technique but some may find it a bit too beautiful for the Queen of the Night - I personally think the two arias could do with a bit more raw vehemence. However, compared to Lucia Popp (who has the right kind of voice but, interestingly for a mom supposedly in a towering rage, delivers "Der Holle Rache" at a leisurely and lyrical pace) or Edita Gruberova (vehement and excitingly fast, but screws things up when she loses control of the tempo in the high F's), I'll go with Sumi any day. Barbara Bonney is perfectly in character with Pamina, and her rendition of "die Wahrheit, die Wahrheit" is so pure and delicate, it breaks your heart to listen to this girl (while, for example, Gundula Janowitz delivers the lines in a booming declaration of righteousness - no fragile moment of courage or anything here, although her voice is equally beautiful). One great merit of this recording, which I didn't know prior to purchase, was that the Three Boys were sung by real boys (not female adult sopranos), so you're in for some Vienna-Boys-Choir-bliss in their trios as well. Was this Mozart's original intention? Do the majority of Die Zauberflote recordings follow this practice? I don't know, but it sounds heavenly, never mind the macho lyrics exhorting one to "be a man"..."
Magic Die Zauberflöte
J. Luis Juarez Echenique | Mexico City | 04/25/2001
(5 out of 5 stars)
"Everything went well in this superb recording from Sweden: the casting, the playing and the conducting. Arnold Östman is an expert XVIII Century opera conductor and a natural mozartean. He sees the Magic Flute with the wondrous eyes of a child, and his reading is not unlike Ferenc Fricsay's old mono recording in DG, save for the period instruments. And using the orchestral forces Mozart would have known, he achieves admirable transparency and ideal balance with voices, you will not miss the Vienna or the Berlin Philharmonics. His cast is mostly excellent, especially the radiant Pamina of Barbara Bonney and the stylish Tamino of Kurt Streit. Gilles Cachemaille is an amiable Papageno and Sumi Jo delivers the expected goods in the Queen of the Night arias. Among the period instrument versions, I place this recording above William Christie's (ERATO) and Roger Norrington's (EMI). Of course you may not want to be without Fritz Wunderlich's Tamino or Kurt Moll's Sarastro, but this recording will probably give you the best idea of what was heard in Schikaneder's theater in Vienna: the most magic of Magic Flutes."