Mozart: Die Zauberflöte / Janowitz, Gedda, Popp, Berry, Frick, Schwarzkopf, Ludwig; Klemperer

1. Die Zauberflöte (The Magic Flute), opera, K. 620
   Composed by Wolfgang Amadeus Mozart
   Performed by London Philharmonia Orchestra
   with Josephine Veasey, Gerhard Unger, Anna Reynolds, Marga Hoffgen, Ruth-Margaret Putz, Christa Ludwig, Franz Crass, Walter Berry, Nicolai Gedda, Gottlob Frick, Gundula Janowitz, Karl Liebl, Lucia Popp, Elisabeth Schwarzkopf, Heinrich Schmidt, Agnes Giebel
   Conducted by Otto Klemperer
   
   

Mozart: Die Zauberflöte / Janowitz, Gedda, Popp, Berry, Frick, Schwarzkopf, Ludwig; Klemperer,Wolfgang Amadeus Mozart,Otto Klemperer,Gundula Janowitz,Nicolai Gedda,Lucia Popp,Walter Berry,Gottlob Frick,Elisabeth Schwarzkopf,Christa Ludwig,The Philharmonia,Angel Records,Classical,Classical Music,German/Austrian Classical Period Opera,Opera,Opera / Operetta / Oratorio,Opera/Operetta

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Average customer rating: A glorious achievement, brimming with magic and wonder Recommendable only for the female voices Klemperer or Bohm in the Mgic Flute? A Magically-Sung MAGIC FLUTE And the Queen of the Night will be defeated

Mozart: Die Zauberflote Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Mozart: Don Giovanni Mozart: Così fan tutte Mozart: Le Nozze Di Figaro Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Beethoven: Fidelio ASIN: B00004VVZN Release Date: 2000-08-15

Tracks:

1. Ov - Philharmonia Orch/Otto Klemperer
2. Act One: Zu Hilfe! Zu Hilfe! - Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen
3. Act One: Der Vogelfanger Bin Ich Ja - Walter Berry
4. Act One: Dies Bildnis Ist Bezaubernd Schon - Nicolai Gedda
5. Act One: O Zitt're Nicht, Mein Lieber Sohn! - Lucia Popp
6. Act One: Hm! Hm! Hm! Hm! - Lucia Popp/Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Margo Hoffgen
7. Act One: Du Feines Taubchen, Nur Herein! - Gerhard Unger/Gundula Janowitz/Ruth-Margret Putz
8. Act One: Bei Mannern, Welche Liebe Fuhlen - Gundula Janowitz/Walter Berry
9. Act One: Zum Ziele Furht Dich Diese Bahn - Agnes Giebel/Anna Reynolds/Josephine Veasey/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz...
10. Act One: Wie Stark Ist Nicht Dein Zauberton - Nicolai Gedda
11. Act One: Schnelle Fusse, Rascher Mut - Gundula Janowitz/Walter Berry/Gerhard Unger/Philharmonia Chor/Wilhelm Pitz
12. Act One: Konnte Jeder Brave Mann - Gundula Janowitz/Walter Berry
13. Act One: Es Lebe Sarastro! - Philharmonia Chor/Wilhelm Pitz/Ruth-Margret Putz/Gundula Janowitz/Gottlob Frick
14. Act One: Nun, Stolzer Jungling; Nur Hierher! - Gerhard Unger/Gundula Janowitz/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz/Gottlob Frick

Tracks:

1. Act Two: Marsch Der Priester - Philharmonia Orch/Otto Klemperer
2. Act Two: O Isis Und Osiris - Gottlob Frick/Philharmonia Chor/Otto Klemperer
3. Act Two: Bewahret Euch Vor Weibertucken - Philharmonia Chor/Otto Klemperer
4. Act Two: Wie? Wie? Wie? - Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen/Walter Berry/Nicolai Gedda/Philharmonia Chor...
5. Act Two: Alles Fuhlt Der Liebe Freuden - Gerhard Unger
6. Act Two: Der Holle Rache Kocht In Meinen Herzen
7. Act Two: In Diesen Heil'gen Hallen - Gottlob Frick
8. Act Two: Seid Uns Zum Zweiten Mal Willkommen - Agnes Giebel/Anna Reynolds/Josephine Veasey
9. Act Two: Ach, Ich Fuhl's - Gundula Janowitz
10. Act Two: O Isis Und Osiris - Philharmonia Chor/Otto Klemperer
11. Act Two: Soll Ich Dich, Teurer - Gundula Janowitz/Gottlob Frick/Nicolai Gedda
12. Act Two: Ein Madchen Oder Weibchen - Walter Berry
13. Act Two: Bald Prangt, Den Morgen Zu Verkunden - Agnes Giebel/Anna Reynolds/Josephine Veasey/Gundula Janowitz
14. Act Two: Der, Welcher Wandelt Diese Strausse Voll Beschwerden - Philharmonia Orch/Otto Klemperer
15. Act Two: Der, Tamino Mein! O Welch Ein Gluck! - Philharmonia Chor/Wilhelm Pitz/Nicolai Gedda/Gundula Janowitz
16. Act Two: Papagena! - Walter Berry/Agnes Giebel/Anna Reynolds/Josephine Veasey
17. Act Two: Pa-pa-ge-na! ...Pa-pa-ge-no! - Walter Berry/Ruth-Margret Putz
18. Act Two: Nur Stille! - Gerhard Unger/Lucia Popp/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffman
19. Act Two: Die Strahlen Der Sonne - Gottlob Frick/Philharmonia Chor/Wilhelm Pitz

Customer Reviews:

A glorious achievement, brimming with magic and wonder.......2007-07-11

Walter Klemperer's historic 1964 recording of Mozart's Die Zauberflöte is a genius in operatic productions. Unlike Le Nozze di Figaro or Don Giovanni, Mozart's final opera is so dramatically convoluted and ridiculous that the recitatives provide more of a source of distraction and confusion than storyline continuation. Thus, Klemperer sculpts a marvelous collection of arias and ensembles with arguably the finest Mozartian cast ever assembled. The Philharmonia Orchestra is, for the greater part, in excellent form. Only occasionally does it sound archaic under Klemperer's traditional direction. The latter is also a bit sluggish at times, but, then again, Klemperer is often praised as a "slow conductor." The Overture is a beacon on his brilliance in lovingly drawing out the music into an almost panoramic phrase of majestic delight. Conversely, the eminent Act II duet "Pa-pa-ge-no! / Pa-pa-ge-na!" is taken horridly slowly and loses much of its energetic vitality.

The soloists - particularly the women - are where the true brilliance lies, nonetheless. Lucia Popp provides a career performance as the Königin der Nacht and fully defines the character described as a "vulture with the voice of a nightingale." Her renditions of "O zitt're nicht, mein lieber Sohn!" and "Der Hölle Rache kocht in meinem Herzen" are utterly breathtaking. Hearing sublime, creamy-voiced Gundula Janowitz as Pamina is an absolute joy. Her demure duet with Berry ("Bei Männern, welche Liebe fühlen") is one of the most beautiful moments on the entire recording and her despondent aria ("Ach, ich fühl's, es ist verschwunden!") is truly heartrending. Elisabeth Schwarzkopf, Christa Ludwig, and Marga Höffgen (the superlative Erda in Solti's 1963 Siegfried) - in the dictionary definition of unmatched choice casting - are a fiendishly celestial trio as the three ladies in the service of the Königin der Nacht. They are a particular delight in the lusty Act I quartet "Stirb, Ungeheuer, durch uns're Macht!" with Gedda. Agnes Giebel, Anna Reynolds, and Josephine Veasey are another great trio as the three boys in the service of Sarastro, especially in their pleasant trio "Seid uns zum zweiten Mal willkommen." There have been greater Papagenas than Ruth-Margaret Pütz, singularly Renate Holm (for Solti), but the former is certainly competent in the small role.

Nicolai Gedda can only be seconded as Tamino by the illustrious Fritz Wunderlich. His voice - virile, gallant, daring - gives the very "un-laudable" character of Tamino the chivalrous, convincing sound he requires. His wondrous arias "Dies Bildnis ist bezaubernd schön" and "Wie stark ist nicht dein Zauberton" are excellent examples of the master Swedish tenor's lyric genius. Walter Berry is certainly the most likeable Papageno on record, especially during his two great arias ("Der Vogelfänger bin ich ja" and "Ein Mädchen oder Weibchen") and quintets ("Hm! Hm! Hm! Hm!" and "Wie? Wie? Wie?" ... "Ganz nah ist euch die Königin") with Gedda, Schwarzkopf, Ludwig, and Höffgen. Gerhard Unger fails to project a Monostatos as nasty as Gerhard Stolze, but he is no less cruel and vindictive. His sniveling aria ("Alles fühlt der Liebe Freuden") is a definite highlight.

Oddly enough, it is Gottlob Frick, one of the greatest Wagnerian basses in operatic history, who nearly sinks the boat. He sounds unsettlingly wobbly and antiquated during Sarastro's great arias ("O Isis und Osiris" and "In diesen heil'gen Hallen") but most unforgivably so during his first few moments on stage ("Steh auf, erheit're dich, o Liebe") and during the trio "Sol lich dich, Teurer" with Janowitz and Gedda. Franz Crass is imposing as the old Sprecher in his long duet with Gedda ("Wo willst du kühner Fremdling hin?"). He and Karl Liebl are sanctimonious as the two armed men in the Act II hymn "Der, welcher wandelt diese Straße voll Beschwerden"; he is also excellent with Unger as the two priests in the similar Act II duet "Bewahret euch von Weibertücken."

In short, when considering the multitude of recordings of Mozart's masterpiece, this recording would be a significant addition to any collection and an excellent point at which to begin one's Mozartian anthology.

Recommendable only for the female voices.......2007-05-25

Never have the parts of Pamina and Queen of the Night been sung more perfectly and beautifully than by Gundula Janowitz and Lucia Popp on this recording. Their performances alone make it worth purchasing this CD set. Elisabeth Schwarzkopf, Christa Ludwig and Marga Höffgen as the three ladies are also pure joy to listen to. But the male voices are - I am sad to say - just good average. Here, the still unsurpassed standard is the Böhm recording (also from the early 1960s) with Fritz Wunderlich as Tamino, Dietrich Fischer-Dieskau as Papageno and Franz Crass as Sarastro. You need both Böhm and Klemperer to get an idea of the full artistic potential of this opera.

Klemperer or Bohm in the Mgic Flute?.......2006-07-12

The recent appearance of an excellent Magic Flute from Abbado (DG) prompted me to go back to two great favorites, this Klemperer set from 1964 and one from Karl Bohm made the same year for DG. Between them they included probably the greatest Mozart singers of the time in Europe. As listeners could hear immediately, the strengths of one cast were offset by the strengths of the other. Klemperer had the best women (Janowitz, Popp, Schwarzkopf, Ludwig) while Bohm had the two best men (Wunderlich and Fischer-Dieskau). For foty years fans of the opera have had to own both. Is that sitll the case?

The new Abbado recording could represent a way out of this Solomon's choice, since it is filled with eager, accomplished singing in every part except for the well-sung but prosaic Papageno of Hanno Müller-Brachmann. Otherwise, I think I'd favor Klemperer if I had to choose only one classic set. The pluses and minuses are as follows:

Klemperer: Always a good recording, the new remastering in EMI's Great Recordings of the CEntury is nearly perfect. The Three Ladies are enchanting as led by Schwarzkopf and Ludwig. The young Lucia Popp is a scintillating Queen of the Night, and Gundula Janowitz a pure, if rather cool Pamina. Also, one cannot discount Gedda's Tamino and Berry's Papageno, which are very well sung if not the best on CD. For many listeners what tilts the balance is Klemperer's magnificent conducting--he may well have been the greatest Mozart conductor of the century. What may tilt the balance the ohter way is the absence of spoken dialogue, a regrettable older practice in Mozart opera recordings. Note that because of its many reissues, this Flute can be had in its older version for around $10 on the used market, and even the new remaastering is under $20.

Bohm: Where Bohm's set is strongest it can't be beat: the once-in-a-lifetime Tamino of Fritz Wunderlich and the masterful, humorous Papageno of Fischer-Dieskau. They, combined with Bohm's expert, if rather measured conducting, have won many listeners over. Unfortunately, Bohm's weaknesses are very weak indeed: a too-mature Pamina from Evelyn Lear that sounds unpleasantly insecure in tone and pitch, and a thin, shrieky Queen of the Night from Roberta Peters, well past her prime. If you can't overlook these two, there's no need even to consider Bohm. Lots of dialogue is included, and for once the echt Deutsch acting is funny.

I wound up owning Abbado, Klemperer, and Bohm, but if you aren't so inclined, I'd say that Klemperer is indispensable and Abbado a gratifying, balanced compromise.

A Magically-Sung MAGIC FLUTE.......2006-02-11

Certainly the best SUNG version around, if not the best CONDUCTED version - Klemperer has his moments of brillance, but some of the music drags when it should dance (parts of the overture, Papageno & Papagena's duet), and is manic when it should be lyrical or slow. Still, there are truly lovely magical muscial moments to be found, despite this. Janowitz's Pamina is a delight, as is Berry's Papageno, and Popp is probably the best Queen of the Night on CD out there, with an almost unearthly pure voice befitting the character - so if you love her two highlight arias then this is a definite for your collection.

And the Queen of the Night will be defeated.......2005-11-23

One of the first innovations Mozart imposes onto the opera genre is the use of small dialogs between the arias to set up some dramatic elements in a light way, very easy to understand and integrate. That gives lightness and speed to the opera. We can't but think of the pantomime genre the English likes so much. Mozart plunges his imagination in old Egyptian beliefs and myths, Isi and Osiris first of all, of course. But he also refers to Selene the Goddess of the night and the moon, and her three Ladies representing the triple Goddess of old who will be defeated in the end in her triple femininity trying to dominate the world. We cannot but think of the reverse use of the triple Goddess, in a christianised form, by Goethe in his Second Faust when he decides to redeem Faust and save him from damnation. Mozart is constantly speaking of love and love affairs that are crossing, entertwining in all possible knots. That should lead to tragedy and many deaths. But Mozart is a believer in peace and peaceful solutions. So he leads his strifing lovers and his ambitious kings and queens to realizing that freedom of choice is the only solution and it has to be accepted by all. The social vision Mozart carries in him is very consensual even if it is for total freedom and change. And the music dances in our ears like the stuttering of Papageno when uttering his name. Mozart associates all extremes together and remembers that his two priests are the reincarnation of Boaz and Jachin, the two pillars, the two masters, the two figures that loom behind Solomon's Temple, the background of Mozart's freemason friends. He thus defeats the Queen of the Night with nothing but notes on the lines of his score. Boaz is the stable basis and Jachin invents all kinds of innovations that destabilize the poor Queen and the establishment without crashing them to the ground, just making them step back and accept the freedom of these sorcerer's apprentices, this Papageno that can charm and tame all birds, or this Pamina that only wants love both for herself and for her tyrannical mother, or the deep voice of Sarastro that makes our souls shudder with pleasure and fear, exhilaration and awe.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Sorbonne

Average customer rating: Klemperer or Bohm in the Magic Flute? You can judge this one by the cover! Hard to beat Klemperer brings light to every dark scene THE MAGIC (OF THIS) FLUTE

Mozart: Die Zauberflöte / Janowitz, Gedda, Popp, Berry, Frick, Schwarzkopf, Ludwig; Klemperer Manufacturer: EMI ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Mozart, Wolfgang Amadeus | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Janowitz, Gundula | Divas | Opera & Vocal | Styles | Music Ludwig, Christa | Divas | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music ASIN: B000002RUE Release Date: 1995-06-13

Tracks:

1. Die Zauberflote: Overture
2. Die Zauberflote: Act One: Introduktion: Zu Hilfe! Zu Hilfe! - (Tamino)
3. Die Zauberflote: Act One: Lied: Der Vogelfanger bin ich ja - (Papageno)
4. Die Zauberflote: Arie: Dies Bildnis ist bezaubernd schon - (Tamino)
5. Die Zauberflote: Act One: Rezitativ & Arie: O zittre nicht, mein lieber Sohn! - (Konigin)
6. Die Zauberflote: Act One: Quintett: Hm! hm! hm! hm! - (Papageno) (Tamino)
7. Die Zauberflote: Act One: Terzett: Du feines Taubchen, nur herein - (Pamina) (Papageno)
8. Die Zauberflote: Act One: Duett: Bei Mannern, welche Liebe fuhlen - (Pamina) (Papageno)
9. Die Zauberflote: Act One: Finale: Zum Ziele fuhrt dich diese Bahn - (Tamino)
10. Die Zauberflote: Act One: Finale: Wie stark ist nicht dein Zauberton - (Tamino)
11. Die Zauberflote: Act One: Finale: Schnelle Fube, rascher Mut - (Pamina) (Papageno)
12. Die Zauberflote: Act One: Finale: Konnte jeder brave Mann - (Pamina) (Papageno)
13. Die Zauberflote: Act One: Finale: Es lebe Sarastro! - (Pamina) (Sarastro)
14. Die Zauberflote: Act One: Finale: Nun, stolzer Jungling; nur hierher! - (Pamina) (Tamino) (Sarastro)

Tracks:

1. Die Zauberflote: Act Two: Marsch der Priester
2. Die Zauberflote: Act Two: Arie & Chor: O Isis und Osiris - (Sarastro)
3. Die Zauberflote: Act Two: Duett: Bewahret euch vor Weibertucken
4. Die Zauberflote: Act Two: Quintett: Wie? wie? wie? - (Papageno) (Tamino)
5. Die Zauberflote: Act Two: Arie: Alles fuhlt der Liebe Freuden
6. Die Zauberflote: Act Two: Arie: Der Holle Rache kocht in meinem Herzen - (Konigin)
7. Die Zauberflote: Act Two: Arie: In diesen heil'gen Hallen - (Sarastro)
8. Die Zauberflote: Act Two: Terzett: Seid uns zum zweiten mal willkommen
9. Die Zauberflote: Act Two: Arie: Ach, ich fuhl's... - (Pamina)
10. Die Zauberflote: Act Two: Chor: O Isis und Osiris
11. Die Zauberflote: Act Two: Terzett: Soll ich dich Teurer nicht mehr sehn? - (Pamina) (Sarastro) (Tamino)
12. Die Zauberflote: Act Two: Arie: Ein Madchen oder Weibchen - (Papageno)
13. Die Zauberflote: Act Two: Finale: Bald prangt, den Morgen zu verkunden - (Pamina)
14. Die Zauberflote: Act Two: Finale: Der, welcher wandelt diese Strabe voll Beschwerden - (Tamino) (Pamina)
15. Die Zauberflote: Act Two: Finale: Tamino mein! O welch ein Gluck! - (Pamina) (Tamino)
16. Die Zauberflote: Act Two: Finale: Papagena! Papagena! Papagena! - (Papageno) (Knaben)
17. Die Zauberflote: Finale: Pa-pa-gena! ... Pa-pa-geno! - (Papageno)
18. Die Zauberflote: Act Two: Finale: Nur stille! stille! stille! - (Konigin)
19. Die Zauberflote: Act Two: Finale: Die Strahlen der Sonne - (Sarastro)

Customer Reviews:

Klemperer or Bohm in the Magic Flute?.......2006-07-12

The recent appearance of an excellent Magic Flute from Abbado (DG) prompted me to go back to two great favorites, this Klemperer set from 1964 and one from Karl Bohm made the same year for DG. Between them they included probably the greatest Mozart singers of the time in Europe. As listeners could hear immediately, the strengths of one cast were offset by the strengths of the other. Klemperer had the best women (Janowitz, Popp, Schwarzkopf, Ludwig) while Bohm had the two best men (Wunderlich and Fischer-Dieskau). For foty years fans of the opera have had to own both. Is that sitll the case?

The new Abbado recording could represent a way out of this Solomon's choice, since it is filled with eager, accomplished singing in every part except for the well-sung but prosaic Papageno of Hanno Müller-Brachmann. Otherwise, I think I'd favor Klemperer if I had to choose only one classic set. The pluses and minuses are as follows:

Klemperer: Always a good recording, the new remastering in EMI's Great Recordings of the CEntury is nearly perfect. This earlier version sounds almost as good, except for a bit of shrilliness in the upper registers. The Three Ladies are enchanting as led by Schwarzkopf and Ludwig. The young Lucia Popp is a scintillating Queen of the Night, and Gundula Janowitz a pure, if rather cool Pamina. Also, one cannot discount Gedda's Tamino and Berry's Papageno, which are very well sung if not the best on CD. For many listeners what tilts the balance is Klemperer's magnificent conducting--he may well have been the greatest Mozart conductor of the century. What may tilt the balance the ohter way is the absence of spoken dialog, a regrettable older practice in Mozart opera recordings.

Bohm: Where Bohm's set is strongest it can't be beat: the once-in-a-lifetime Tamino of Fritz Wunderlich and the masterful, humorous Papageno of Fishcer-Dieskau. This, combined with Bohm's expert, if rather measured conducting, has won many listeners over. Unfortunately, Bohm's weaknesses are very weak: a too-old Pamina from Evelyn Lear that sounds unpleasantly insecure in tone and pitch, and a thin, shrieky Queen of the Night from Roberta Peters, well past her prime. If you can't overlook these two, then there's no need even to consider Bohm. Lots of dialog is included, and for once the echt Deutsch acting is funny.

I wound up owning Abbado, KLemperer, and Bohm, but if you aren't so inclined, I'd say that Klemperer is indispensable and Abbado a gratifying, balanced compromise.

You can judge this one by the cover!.......2002-03-04

Make no mistake: Jim Endicott's illustration on the album cover of this recording of Die Zauberflöte is one of the finest in the history of recorded music. Roger Dean, illustrator of Yes album covers from the 1970s, would be pleased to see it. Fortunately, the music contained inside is equally inspired. Despite the stern admonition of one reviewer, who said this should not be one's introduction to the opera, I cast my lot in the name of fate and got it. My other choice was a recording by Karl Böhm, in which the male singers are legendary. I chose this recording because of Gundula Janowitz and Lucia Popp and found that the male cast is great as well. Those who prefer other recordings may be looking for spoken dialogue, digital recording, period instruments, or zippy tempos. What Klemperer gives us is music without the dialogue, romantic grandeur, and a fine singing cast. The analog sound from 1964 is more than fine. It's all a matter of preference; all I can tell you is that this is the recording for me. EMI has issued this recording in its line of "Great Recordings of the Century." You get the same music, wealth of information, and libretto inside. What's missing is the cool album cover.

Hard to beat.......2002-01-28

Walter Legge (the producer of this recording) said to Klemperer that he had found a cast for his magic flute that was "as perfect as the world's resource could yield." Legge practically does this.
This 1964 recording has everything going for it, starting with the overture, which Klemperer conducts incredibly well. the conducting throughout this, though stately and solemn, like most of Klemperer's work, is the best I've heard, living evidence that klemperer was by far one of the greatest mozart conductors.
Klemperer's cast is just as superb. Nicolai Gedda is a great tamino. the real character of this opera is Papageno, sung by walter berry, one of the best Papagenos ever. A young Gandula Janowitz, not my favorite singer, by any means, is a beautiful pamina, probably her best recorded work...Lucia Popp is amazing as usual, rattling off high notes as if anyone could do it. Gottlob Frick is a solemn sarastro, just as is called for, though the role has been better sung.
It's also great having a studio recording for a opera which has so many little roles...where else do you get schwarzkopf, christa ludwig, and marga hoffgen to sing the three ladies, or franz crass to double as the speaker and one of the guardsmen?
Anyone who likes this opera should listen to this recording, for it is one of the best. Those looking for a complete magic flute should check elsewhere, for klemperer eschews the dialogue.

Klemperer brings light to every dark scene.......2001-03-01

This is one of my favorite recordings of the Magic Flute. I like the slower tempos that Otto Klemperer employs. It adds grandeur to the music. Walter Berry is a great Papageno and proves his comic character, but tends grumble some of his roles. I wish the three boys were sung by boy trebles though. That would have made the recording more memorable. Gedda is still the Prince Tamino and is as good in this recording as he is on stage with his mellow voice. The duet with Papageno and Papagena would have sounded better at a faster pace. But the orchestration and rest of the cast are magnificent and creates the scenes of the opera very well. It also saves my review from falling one star below. I don't mind if the spoken dialogue is omitted. If you want want this to be your first Magic Flute, go for it!

THE MAGIC (OF THIS) FLUTE.......2000-07-06

Allow me to start by getting my one and only reservation out of the way. The reservation in question being that all of the spoken dialogue has been excised and being an itegral part of the work, is a detriment. That aside, this recording is simply divine. From start to end, this performance brims with perspective and direction under the direction of Otto Klemperer. Boasting of a star-studded cast like no other, this is THE BEST Magic Flute on record. Klemperer, as usual, adopts a slow and weighty approach, which adds a dimension of authority in the performance. The music is crisply and cleanly read, the singing top-notch and the recording clear and sharp. My vote for the best singing goes to Lucia Popp who gives us her reading of the role of the Queen of the Night. Her two formdibable arias, laced with the most technically demanding and hair-raisingly fiendish coloratura effects, are tossed off with nary a glitch. Instead, what we are treated to is a spot-on execution of the high-wire tessitura. Popp thrills and chills us with her crystal clear voice carrying the role into the stratosphere. This is a Queen of the Night not to mess around with. Nicolai Gedda sings Tamino well, his reliability over the years has us expecting no less than that. Gundula Janowitz breathes new life into Pamina with her cool pure voice. Albeit slightly controlled and constrained, hers is an accurate portrait. Walter Berry charms us with his Papageno. We are further treated to a very distinguished trio of Ladies who are sung by no less than Elisabeth Schwarzkopf, Christa Ludwig and Marga Hoffen. The Philharmonia Orchestra puts in one of their best work in this recording, responding to the adept leadership of Klemperer.

Meditation Music:

1. Mozart: Don Giovanni
2. Mozart: Don Giovanni / Allen, Vaness, M. Ewing, Gale, Lewis, Van Allen; Haitink
3. Mozart - La finta giardiniera / Conwell · di Cesare · T. Moser · Sukis · Fassbaender · Ihloff · McDaniel · Orch Mozarteum Salzburg · L. Hager
4. Mozart: The Marriage of Figaro, Highlights/Mitridate, K. 87/La Finta Giardiniera, K. 196
5. Offenbach: Les Contes d'Hoffmann
6. Pavarotti's Opera Made Easy-My Favorite Mozart
7. Prokofiev: The Fiery Angel
8. Puccini: La Bohème
9. Puccini:La Boheme
10. Puccini:Tosca

Meditation Music

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Oldies [Import]

Jazz Music: 1958: Paris Olympia Concert [Import]

O Som Do Interior, Vol. 1 [Import]

Nightlife [Explicit Lyrics]

Saddle You Up

A Wilder Alias