Search - Simon Keenlyside, Wolfgang Amadeus Mozart, Charles Mackerras :: Mozart: The Magic Flute

Chandos & Sir Peter do it again!

John P. | Kennett Square, PA USA | 05/20/2005

(5 out of 5 stars)

"This set, one of the latest offerings in Chandos's Opera in English series backed by philanthropist and opera-lover Sir Peter Moores, is a wonderful recording of Mozart's weirdest (and least politically correct) opera. The recording holds its own not only as an English-language production but as compared to all other recordings of The Magic Flute (Die Zauberflote).



First in line for honors is Simon Keenlyside as Papageno. He makes Papageno, the "simple" bird-catcher, a fully rounded human being, who is unwordly rather than foolish, and whose loneliness is palpable. Keenlyside also shows us splendid comedic skills. Barry Banks gives Tamino a lot of body as well, singing beautifully and investing the role with dignity and purpose. The other roles are all well sung and intelligently acted (although Sarastro (John Tomlinson) could have used a plummier accent; his country pronunciations (Yorkshire perhaps?) are a little disconcerting coming from the priest-king and father figure). The spoken sections, almost always trimmed, have here been judiciously pruned so that the whole performance fits on 2 discs, with a total playing time of 2 hours and 17 minutes.



A word about the translation: A least one print review has faulted the continual rhyming that runs through it. But the German text is built around rhymes, too, and its author, Emanuel Schikaneder, was not a master librettist like Mozart's more famous collaborator Da Ponte. I suspect, although German scholars may correct me, that the middle-brow tone of this translation gives us the best idea of how Schikaneder's libretto comes across to German audiences.



I *highly* recommend this recording."

Chandos plays its strength

Tom Lawrence | Cambridge, MA USA | 06/01/2005

(5 out of 5 stars)

"The Chandos Opera in English team have a knack for comic opera. Previous recordings of Elixir of Love, Don Pasquale, Barber of Seville and The Marriage of Figaro all sparkle. Now their Magic Flute joins the ranks. Jeremy Sams' translation keeps the spirit of the original but adds a touch of colloquial English. For instance, Papageno's verse:



Very well, what the hell,

nothing ventured, nothing gained!

Time to try these magic bells.



The Chandos Sound works well with the music. The orchestra has a transparent sound that supports the singers nicely. Sir Charles Mackerras, now in his 80th year, can still kick up his heels and lead a lively show. Supported by historical documents he takes Pamina's G-minor lament at a slightly quicker tempo than usual. Rebecca Evans is at her best in this aria and floats some lovely pianissimos.



Lesley Garrett (Papagena) matches Simon Keenlyside's ability to deliver the spoken scenes with a character actor's comic flair and yet sing the music with seamless beauty. The Three Ladies (Majella Cullagh, Sarah Fox and Diana Montague) likewise show a comic touch when fauning over Tamino yet never sacrifice their harmonic blend. Elizabeth Vidal as Queen of the Night hits all of the altissimo F's but I feel she could inject a little more venom into "The Wrath of Hell".



Barry Banks highlights the youthful vulnerability of Tamino with endearing lyricism. John Tomlinson's bass easily tackles the lowest reaches of Sarastro's range, but his recent Flying Dutchman is still in my ear. I wish he had somehow slimmed down his voice for this Mozart role.



The sum total is that this is an ensemble production in which everyone shines at (or near) his best. The Geoffrey Mitchell choir has the last word:



Now beauty and wisdom

have vanquished the night

and crown'd their endeavour

with glory and light.



"

This 2-CD set soars!

OperaOnline.us | Boston, MA | 07/03/2005

(5 out of 5 stars)

"Mozart's Magic Flute has stood on its own merit through the ages and needs no comment from this or any other reviewer. It is an opera written of and in a period where what was expressed made sense to the librettist and the intended audience, and independent of the libretto, where musical expression was practiced as an art form that took into account both beautiful fully developed melody and the affect that melody would have on the listening audience. In this regard Chandos delivers a faithful two-CD set with Sir Charles Mackerrars conducting the London Philharmonic Orchestra, accompanied by a strong English-singing cast that gives this Magic Flute verve and a sense of excitement that is a joy to listen to in every respect. While it is Opera in English, the listener should be aware that the soprano voice has difficulty making the English translation any easier to understand than had it been sung in German. A good example of this can be found in the aria of soprano Elizabeth Vidal, in "The wrath of hell is burning . . .". Does it detract from the delight of the aria? Not in the least. Ms. Vidal's aria is delivered with stunning beauty, accompanied by a rich and sensitive orchestra throughout. To the extent it's worth mentioning, it is only to point out that the accompanying booklet, which does contain the libretto, is a handy guide to keep nearby if understanding all the words is important. The male baritone and bass voices, on the other hand, seem to be perfectly suited for translation, and listening to baritone Simon Keenlyside, singing the role of Papageno, the bird catcher, and bass John Tomlinson, singing the role of Sarastro, Priest of the Sun, are good examples of how the lower register just seems to come across better in English.

As with all the Chandos Opera in English recordings I have listened to, the hallmark of this series is crisp and flawless delivery, due probably as much to the fact that it is a digital recording as to the fact that the emphasis on perfection is so obvious from all involved. An effort is clearly being made to make opera understandable; care is being taken to fit the libretto in English to the score so that it fits seamlessly; and the performers - singers and orchestra -- are clearly taking that mandate seriously. Technically, this is a strong offering with much to commend it above all others. As noted, it is a wonderfully produced set that is a treat to listen to in stereo. I played this set on both my home stereo, and on my computer, with enhanced speakers and sub-woofer, and found the experience being closer to the speakers, listening on my computer, a far more enjoyable experience. It is easy to see why this set received the "Editor's Choice" from Gramophone. It is a delight in every sense, and a technically superb rendering of a classic opera that is of such high quality that it is really the only one to own."