Mozart: Die Zauberflöte - Highlights

Kiri Te Kanawa | Format: MP3 Download

Product Details

• Original Release Date: November 16, 1993
• Release Date: November 16, 1993
• Label: Decca
• Copyright: (C) 1993 Universal International Music B.V.
• Record Company Required Metadata: Music file contains unique purchase identifier. Learn more.
• Total Length: 1:09:32
• Genres:
• ASIN: B000VACE1M
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #298,704 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

8 of 11 people found the following review helpful:

3.0 out of 5 stars Great Singers ... Poor Casting, January 6, 2000

By 

Omar Lyles (FL, USA) - See all my reviews

This review is from: Mozart: Die Zauberflöte (The Magic Flute), Highlights (Audio CD)

Searching for the definitive recording of "The Magic Flute"?

Simply put: Search elsewhere.

There's no denying the talent of singers Samuel Ramey, Dame Kiri Te Kanawa and Cheryl Studer, but in this case they seem to have been the victims of a casting disaster. Despite the admirable efforts of Sir Neville Marriner and the singers themselves, the major roles seem unbalanced. Ramey, although one of the great basses of our time, lacks both the generosity of tone and basso profundo sound needed to fill Sarastro's arias. As a result, the role loses the majesty and solidity required to foil the Queen of the Night. On the other hand, Dame Kiri Te Kanawa's voice seems all too mature for the role of Pamina. Te Kanawa's beautiful full lyric sound seems misplaced in this opera. Te Kanawa executes a solid interpretation of the aria "Ach, ich fühl's", but the weight of her voice undermines Pamina's youth, purity and naïveté - qualities vital to the vulnerability and believability of the piece.

Cheryl Studer's Queen of the Night is a third and near-fatal blow to the production. Studer's robust sound seems shoehorned into the role. Her coloratura often sounds forced and uncomfortable. Pitch and rhythm also fall under attack due to the vocal gymnastics required by the role. In a word, her "Der Holle Rache" is frightening and her arpeggio up to the high-F sounds completely unnatural. This is unfortunate because Studer has an incredible instrument capable of great power and agility. I would definitely recommend her recordings of Verdi, but this performance doesn't do justice to herself or to Mozart.

Ironically the rest of the recording is pretty good, but with the multitude of Magic Flute recordings available, I would encourage buyers to look elsewhere. Suggestions? I happen to enjoy the Harnoncourt recording on the TELDEC label. Both the full opera and "Highlights" version are available.