Magic Theatre [Import]

Magic Theatre [Import]

Track Listings

1. The Corridor Of The Seven Doors

2. Reflections From Childhood

3. Castles Of Sand

4. Loss Of Identity In The Labyrinth Of Delusions

5. The Magic Mirror

6. Beyond The Wall Of Ignorance

7. Peace Of Mind

8. The Fountain Of Real Joy

9. Exit

Magic Theatre,Gandalf,Wea,Heavy Metal,New Age

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Average customer rating:

Refreshing and Surprising!

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.

Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

Tracks:

Adagio (Arr. Giazotto)
Violin Romance No. 2 In F Major, Op. 50
Concerto In A Major For Panpipes And Orchestra: 1. Sicilienne (Arr. Jean Thilde Billandot, Paris)
Concerto In D Minor (BWV 1060) For Violin, Panpipes And Orchestra: 2. Adagio (Reconstr. Max Schneider)
Serse (Xerxes): Ombra mai fu (Largo)
Concerto In D Major For Panpipes And Orchestra: 1. Allegro
Concerto In D Major For Panpipes And Orchestra: 2. Andante
The Four Seasons - Concerto Op. 8 No. 4 'Winter': 3. Allegro (Arr.: H. van Hoof)
Kinderszenen: Traumerei (Arr.: H. van Hoof)
Ave Maria (Arr.: H. van Hoof)
Gianni Schicchi: O mio babbino caro
La Traviata: Addio del passato
Hungarian Dance No. 1 In G Minor (Arr.: Tony Britten)
Manon Lescaut: Donna non vidi mai
Couleurs d'automne
Evita: Don't Cry For Me Argentina

Theatre of Magic: The Original Cast Recording

Average customer rating:

underwoods brush

Theatre of Magic: The Original Cast Recording

Manufacturer: Starcase
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music

Pop Rock | Pop | Indie Music | Stores | Music
ASIN: B000065X1U
Release Date: 2002-04-06

Tracks:

Theatre of Magic
Prince of Pan
(Most) Beautiful Kind of Magic
Where Do We Go? (Save Our Souls)
Evil Is My Game
Gotta Be Brave
I Have The Power
Bow Down
Dragon Dance
Rejoice!
Theatre of Magic (reprise)

Album Description

NYC's premier purveyors of the long dormant (until now!) rock opera tradition, The Tim Heidecker Masterpiece, unleash the fire-breathing culmination of their ongoing effort with "Theatre of Magic: The Original Cast Recording." Drawing upon the time-honored themes of good vs. evil, inspiration vs. perspiration and rock vs. roll, this medieval tale is a sonic journey for the mind as well as the ears. And above all, it ROCKS. In short, the Brave Knight Brinsley LePour (Tim Heidecker), the Prince of Pan (Ken Tuckitt) and the evil Warlock (Sonny D.) take the listener back to the times of yore--when sword fights and dragon dances were performed with Les Pauls, Marshall stacks, very large drum sets and a well-stocked arsenal of sound effects CDs. Beautifully captured in stereophonic sound, this astounding full-length debut has everything from Steinway grand pianos to searing guitar leads to the 8-minute epic culmination "Theatre of Magic (Reprise)."

Customer Reviews:

underwoods brush .......2007-02-06

it is good. The wizard in my mind when I was five was already a dragon that quietly dug a talon where a metal trailer with heated air vents rusty sharp could never cut. Bow quickly, with a future where your head and back used to be. Posing opossums are all around always being watched always been pretending to sleep. Keep records of the like minded, so there is a forsooker that'll croon like me. Curious carvers buffet upon sheet after sheet. Bible Camp air after someone curses invites terror to get the screens pried off my kitchen window in the back. Crained my neck to face the beast and bowed. The dragon never spoke above a whisper
So distinct you know where the lilly is of. Look to know the Congo for years. Tell me critical aspects I've been lacking in. With those pox thoughts I never wanted.
"Dissapointment Else". A hospital called that should be for that. Jealous of the quicker.
Alone, with one less day per week, the possiblity of a comet hitting earth while I'm yawning one day, not enough time. When there was eight days in a week I didn't know how to bow because I stood tall unaware with my titans. When I saw all the titans take ungainly uneasy steps down an unsteady wooden ladder from my sky, my dragon stayed to stare and whisper. When eight turned seven only the weeks went faster, I didn't, so I saw a behemoth. I regret only the time it took to prostrate myself before him.
The long lasting thoughts of plan ruin my dragons landing pad. A unbridled beast whispers beauty and bye every once in a while. Taken from me every year is a little less precious. I'll get the screens pried off my kitchen windows. Somehow something has hidden me from an old day of the week. In fits of disgust and paranoid suspicions I think even my dragon doesn't think I age fast enough.
I go to bed on Saturday nights and sleep through my eight. The dragon took me with quiet whispers of what twists in me can't be undone or untied, what knots up will have to just be tightened to its smallest. May my dragon always find more time.
The wind has started to pick up and some wheat is flying away with the chaff.
Thanks be to Mr. Tim Heidecker.
My left eye's two pupils water for you.

Average customer rating:

A memento of a productive partnership.

Tauber & Lehar

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Tracks:

Das Land Des Lachelns: Act 2: Dein Ist Mein Ganzes Herz
Das Land Des Lachelns: Act 1: Ich Trete Ins Zimmer - Immer Nur Lacheln
Das Land Des Lachelns: Act 1: Ach, Trinken Sie Vielleicht Mit Mir Ein Tasschen Tee - Bei Einem Tee E - Richard Tauber/Vera Schwarz
Das Land Des Lachelns: Act 1: Von Apfelbluten Einen Kranz
Das Land Des Lachelns: Act 2: Wer Hat Die Liebe Uns Ins Herz Gesenkt - Richard Tauber/Vera Schwarz
Das Land Des Lachelns: Act 2: Ihr Gotter Sagt, Was Ist Mit Mir Geschehn? - Kann Es Moglich Sein?
Friederike: Act 2: O Madchen, Mein Madchen
Friederike: Act 1: Heimlich Kling't In Meiner Seele - Sah Ein Knab' Ein Roslein Stehn
Friederike: Act 1: O Wie Schon, Wie Wunderschon
Friederike: Act 2: Liebe, Goldener Traum
Der Zarewitsch: Act 1: Allein, Wieder Allein - Es Steht Ein Soldat Am Wolgastrand
Der Zarewitsch: Act 3: Kosende Wellen - Warum Hat Jeder Fruhling, Ach Nur Einen Mai - Richard Tauber/Carlotta Vanconti
Der Zarewitsch: Act 3: Madel, Wonniges Madel - Willst Du? Komm, Und Mach Mich Glucklich
Paganini: Act 2: Gern Hab' Ich Die Frau'n Gekusst
Paganini: Act 1: Schones Italien
Paganini: Act 2: Niemand Liebt Dich So Wie Ich - Richard Tauber/Carlotta Vanconti
Paganini: Act 1: Was Ich Denke, Was Ich Fuhle - Richard Tauber/Carlotta Vanconti
Eva: Vorspiel - VPO/Franz Lehar
Frasquita: Ser (When The Moon Is Shining White - Farewell, My Love)
The Land Of Smiles: Always Keep Smiling
The Land Of Smiles: You Are My Heart's Delight
The Merry Widow: Waltz Song (Now Or Never And Forever)/Villa Song (There Once Was A Villa)...

Tracks:

Giuditta: Act 1: Freunde, Das Leben Ist Lebenswert
Giuditta: Act 2: Schon Wie Die Blaue Sommernacht - Richard Tauber/Jarmila Novotna
Giuditta: Act 3: Welch' Tiefes Ratsel Ist Die Liebe - Du Bist Meine Sonne
Giuditta: Act 4. Finale: So Wie Um Den Sonnenball
Giuditta: Act 5: Schonste Der Frau'n
Schon Ist Die Welt: Act 1: Bruder Leichtsinn, So Werd' Ich Genannt - Schon Ist Die Welt
Schon Ist Die Welt: Act 2: Liebste, Glaub' An Mich
Schon Ist Die Welt: Act 1: Frei Und Jung Dabei - Richard Tauber/Gitta Alpar
Schon Ist Die Welt: Act 2: Es Steht Vom Lieben - Richard Tauber/Gitta Alpar
Der Rastelbinder: Act 1. Walzerduett: Ein Ausflug Mit Ihnen - Wenn Zwei Sich Lieben - Richard Tauber/Carlotta Vanconti
Das Furstenkind: Act 1: Ich Wollt' Nichts Von Ihr Erzwingen - Schweig, Zagendes Herz
Das Furstenkind: Act 2: Freihet, Du Bist Unser Leben - Lange Jahre, Bange Jahre
Zigeunerliebe: Act 3: So Sprach Noch Niemals Ein Mann Zu Mir - Es Liegt In Blauen Fernen - Richard Tauber/Vera Schwarz
Frasquita: Ser: Schatz, Ich Bitt' Dich - Hab' Ein Blaues Himmelbett
Die Lustige Witwe: Act 3: Lippen Schweigen
Die Lustige Witwe: Act 2: Es Lebt' Eine Vilja
Die Lustige Witwe: Ov
Paganini: Girls Were Made To Love And Kiss
Paganini: Love Never Comes Too Late - Richard Tauber/Evelen Laye
Paganini: Nobody Could Love You More - Richard Tauber/Evelen Laye
Paganini: Beautiful Italy
Frasquita: Ser (When The Moon Is Shining White)/The Land Of Smiles: Always Keep My Smiling - Love...

Customer Reviews:

A memento of a productive partnership........2001-11-19

EMI commemorate in this double CD a remarkable partnership in the C20th world of music. It began in Berlin in 1926. It had been 20 years since Franz Lehar's "Die lustige Witwe" became the light opera that everyone wanted to see. In places like Beunos Aires it had run simultaneously in five theatres in five different languages. Lehar's subsequent productions had met with diminishing success. His latest light opera, "Paganini", which contained some of his best music, had flopped at its Vienna premiere. Nervous and dispirited as its Berlin premiere drew near, Lehar wrote to the tenor Richard Tauber, "You must sing in Berlin, a second flop is inconceivable for me. I'm suddenly afraid of everything to do with the theatre - I'm getting old".

Tauber obliged. The Berlin production was a resounding success, Tauber sometimes being required to repeat "Gern hab' ich die Frau'n gekusst" as many as five times. Lehar admitted, "Richard, during this moment I have been born again as an artist!" And so began a great final flowering of Lehar theatre productions, all featuring the Austrian tenor Richard Tauber.

Fortunately the Lehar-Tauber association resulted in an extensive series of recordings, in many of which Lehar conducts the orchestra. EMI began issuing a collection of them towards the end of the LP era, and now, in 2001, they are collected onto this double CD. I read the claim that a great many of the tracks appear on CD for the first time, but here in Australia most have already been available on CD.

I don't always find Tauber unexcelled in this repertoire, preferring other tenors sometimes and their recordings. Several of the "Paganini" recordings were made before the Berlin season opened. Tauber and his then wife Carlotta Vanconti sound as though they are sight-reading unfamiliar music. I once possessed several of the "Das Land des Lachelns" items on 78s. The 1929 sound seemed robust and full then, but seems sadly emasculated here.

Customer Reviews:

TERRIFIC!!!.......2003-09-09

No more to say. If you love the sopranos you will love collection.

Average customer rating:

The Odeon Recordings, 1928-1929

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B000009LK0
Release Date: 1995-12-12

Mozart - Die Zauberflöte / Streit · Bonney · Jo · Cachemaille · Sigmundsson · Hagegard · Drottningholm Court Theatre · Östman

Average customer rating:

Perhaps the best opera recording I've ever heard
Fabulous Recording, Re-released on Decca
Good period performance but lacks the best singers
Very, very nice
Magic Die Zauberflöte

Mozart - Die Zauberflöte / Streit · Bonney · Jo · Cachemaille · Sigmundsson · Hagegard · Drottningholm Court Theatre · Östman
Wolfgang Amadeus Mozart , Kurt Streit , Barbara Bonney , Arnold Ostman , Drottingholm Court Theatre Orchestra and Chorus , Sumi Jo , Gilles Cachemaille , Kristinn Sigmundsson , Petteri Salomaa , Hakan Hagegard , Lillian Watson , Ruth Ziesak , and Iris Vermillion
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Bonney, Barbara | Divas | Opera & Vocal | Styles | Music
ASIN: B000004CY8
Release Date: 1994-04-12

Tracks:

Die Zauberflote: Act One: Ouverture
Die Zauberflote: Act One: Act Two: Zu Hilfe! Zu Hilfe!
Die Zauberflote: Act One: Der Vogelfanger bin ich ja
Die Zauberflote: Act One: Dies Bildnis ist bezaubernd schon
Die Zauberflote: Act One: O zittre nicht, mein lieber Sohn!
Die Zauberflote: Act One: Hm! hm! hm!
Die Zauberflote: Act One: Du feines Taubchen, nur herein!
Die Zauberflote: Act One: Bei Mannern, welche Liebe fuhlen
Die Zauberflote: Act One: Zum Ziele fuhrt dich diese Bahn
Die Zauberflote: Act One: Die Weisheitslehre dieser Knaben
Die Zauberflote: Act One: Wo willst du, kuhner Fremdling, hin?
Die Zauberflote: Act One: Wie stark ist nicht dein Zauberton
Die Zauberflote: Act One: Schnelle fusse, rascher Mut
Die Zauberflote: Act One: Es lebe Sarastro! Sarastro soll leben
Die Zauberflote: Act One: Herr, ich bin zwar Verbrecherin
Die Zauberflote: Act Two: Marsch der Priester
Die Zauberflote: Act Two: O Isis und Osiris

Tracks:

Act Two: Eine schreckliche Nacht!
Act Two: Bewahret euch vor Weibert
Act Two: Wie? Wie? Wie?
Act Two: Alles fer Liebe Freuden
Act Two: Der H Rache kocht in meinem Herzen
Act Two: In diesen heil'gen Hallen
Act Two: Seid uns zum zweitenmal wilkommen
Act Two: Ach, ich f es ist verchwunden
Act Two: O Isis und Osiris, welche Wonne!
Act Two: Soll ich dich, Teurer, nicht mehr sehn?
Act Two: Ein Mhen oder Weibchen
Act Two: Bald prangt, den Morgen zu verk
Act Two: Du also bist Brigam?
Act Two: Der, welcher wandert diese Stra
Act Two: Tamino mein! O welch in Gl
Act Two: Wir wandelten durch Feuesgluten
Act Two: Papagena! Papagena! Papagena!
Act Two: Pa-Pa-Pa
Act Two: Nur stille, stille, stille
Act Two: Die Strahlen der Sonne

Amazon.com

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

Customer Reviews:

Perhaps the best opera recording I've ever heard.......2006-09-09

This is a recording I hold very close to my heart. There is absolutely nothing wrong with this recording, no minor detail which could be improved, no miscasting. The pace feels natural and it moves well. The singers all give their best. The period instrument orchestra sounds rich, colourful, "edgy", expressive and powerful, when necessary. The whole thing is just about as good as a recording of an opera can be.

I have the Gardiner recording of this work, and although I enjoy it (it is a live recording), Östman's recording is in a class of its own.

Those who are new to Mozart will find much to enjoy in this recording. People who are familiar with the work will probably be enthralled by this recording, even those who are not normally attracted to HIP/period instrument recordings.

I have listened to this recording over and over again. I played a couple of pieces from it at my mother's funeral a couple of years ago. I am always deeply moved when I listen to this recording.

I hope you seriously consider buying this deep, deeply beautiful and exciting recording.

Fabulous Recording, Re-released on Decca.......2005-10-09

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.

Good period performance but lacks the best singers.......2005-09-24

Ostman was a pioneer in historical opera performances, and he had the nerve to use a really tiny, if scrappy, pit orchestra, and to reduce the scale of everything but the singers' expressiveness, which was allowed free rein. This is one of his good readings, not as fast and hectic as his Cosi but not as warm and humane as his Figaro. The Tamino is fairly weak and the Papageno lacks charm, but Bonney is one of the best Paminas on record. All in all, a better than aaverage rading of the opera and one of the best if you want that period feel.

Very, very nice.......2003-10-05

Very light, intimate sound. I am a pushover for this opera at any rate. I was happy for years with another recording I have. I picked this one up at a used CD store for about $16 and it was a steal: it's better than the old recording I have, that I thought was near-perfect. It is a shame that currently it's out of stock and someone's asking $40 for it. (Well, you can have my copy for $50.)

With this recording, you feel that the singers are in the room with you, rather than in a cavernous opera house. If you go for the original-instruments approach with Mozart, this will seem very right for you.

It's 155 min. on 2 CDs. Someone must have had to do microsurgery somewhere to make it fit. (No, they didn't cut the dialogue, it's there.)

Magic Die Zauberflöte.......2001-04-25

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.