Most Helpful Customer Reviews
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20 of 20 people found the following review helpful:
4.0 out of 5 stars
Böhm is magnificent - the cast, less so, August 24, 2000
This is arguably the best-conducted version of Mozart's masterpiece. Böhm chooses leisurely tempi, but they are never sluggish and seem exactly right for the piece. His direction conjures up a magical atmosphere that is only found elsewhere on Karajan's EMI recording. Böhm gets radiant playing from the Berlin Philharmonic in superb form, and the RIAS Kammmer-Chor is simply unbelievable: the best chorus I have ever heard. They must be heard to be believed.Sadly, Böhm's cast is not on this level, with exception of three singers: Wunderlich, Hotter and Fischer-Dieskau. Wunderlich is a superb Tamino, intelligently characterized and gorgeously sung, and is only surpassed by Anton Dermota (and only by a small margin). Fischer-Dieskau sings Papageno clearly and beautifully, but also paints an endearing portrait of this loveable but hopelessly goofy birdcatcher. Hans Hotter is a magnificent Speaker; his only scene, with Wunderlich, is the best performance of the scene on disc. Evelyn Lear, though, is strained by Pamina's part, particularly in "Ach, ich fühl's." Roberta Peters is shrill in the upper register, and Franz Crass is a coarse Sarastro. The sound is excellent, though and this recording also includes an abridged form of the dramatically essential dialogue. My recommendation for Flute-seekers is to get two recordings - this one and Karajan's 1950 EMI account. Karajan's is a superior performance but does not include dialogue and is in mono sound. If you only want to get one, I would lean towards Karajan because of the magnificent singing, combined with conducting at least as good as Böhm's.
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53 of 62 people found the following review helpful:
5.0 out of 5 stars
A lot of strange things being said..., March 4, 2004
Anyone who is familiar with this recording will probably be quite surprised at some of the comments being made by the reviewers... for example that Roberta Peters is singing out of tune. Being a fairly compitent musician myself I can tell you that she is not singing out of tune, only the tone is harsher than many other queen's. The thing that these reviewers also miss is that this is a very reasonable way to approach the role... the music does not exist for the sheer beauty of it, but rather as a contrast to the Mozartian style. Coluratura dates back to earlier Italian operas, and it is no coincidence that Mozart composed such a part for his villian, contrasting it with the ultimate force of good, being Sarastro (again, a wonderful performance). If she sounds cold or harsh, then that's perfect. Is Roberta Peters a good singer? No, but she isn't a bad one either; more importantly, she's a dramtically effective Konigin der Nacht, and even if you never wanted to hear her in any other role (and as far as I know, no one has) this role is perfect drama and casting. Furthermore, Bohm is unquestionably the greatest Mozart conductor of the recorded era (with Krips and Beecham also ranking in). This recording is a perfect Zauberflote, and I can think of none to recommend more highly. It's a shame that Bohm seems to be slipping out of popular view.
As for Lear, she is a good soloist, although not a great one, and suffers more from being on a recording with great performers. The male cast is incredible, and the music is amazing. A lot of your perspective on the quality of this recording revolves around you insistance on what is important in an opera. Bohm admitted that he would many times take a performance that the singer wasn't absolutely happy with because it was the best performance overall. If you go with Solti, Marriner, Gardiner, or any of the other second rate Mozart conductors (no offense against Solti of course, his Wagner is especially great, and he was a fantastic conductor... as for Marriner and Gardiner, if you think that is Mozart...) who happen to have very great singers. Bohm (and Giulini also) come from the perspective that ensemble is what really counts... and it's more important how the orchestra and soloists interact together. Both conductors consistently get the best performances (I've never heard a bad Giulini recording), but they do not always show off the individual talents (for example, Don Carlos, casting Domingo in a rule that only has one aria).
I have only one serious complaint with this recording, as I do with every studio recording that Bohm made... I know it would have been better live. Not that it is a bad recording, but as anyone familiar with Bohm will attest to, he was always best in live performances. In closing I will quote High Fidelity magazine, "A testing place for me is the rise of the curtain--Tamino's enterance, with the "Listige Schlange" in pursuit. If it is "pretty" or neat-sounding, we are generally in for a dull time; if we sense the plight of the breathless prince and the presence of the monster in the rushing string figures, there is hope... This is the only recording of Zauberflote that can, on repeated hearings, exert a real dramatic grip and keep the imagination stewing."
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8 of 8 people found the following review helpful:
4.0 out of 5 stars
What a recording!!!, April 7, 2002
This should be exhibit 1 for anyone trying to prove that old-fashioned Mozart can work as well as more historically informed performances. This recording is pure magic from the first note. No one does that overture like Bohm! It's hard to listen to other interpreters after him. Throughout the performance, Karl Bohm is in many ways the star. The listener will hear his unique approach to Mozart everywhere. Bohm lets the music of this amazing opera breath. Listen to the woodwinds in the overture, Sarastro's entrance at the end of Act 1 and especially "Dies Bildnis". It is nearly impossible to imagine them being so well articulated by anyone else. Every note is clear and strong. The music resonates and fills up the ear. Of course, this means slow tempos and Bohm could sometimes end-up being terribly dull. But his style is ideal for this opera of enlightenment and sanity. This is Mozart's farwell to opera, his final affirmative message (in this genre) to humanity! Who wants to rush through it anyway?
The cast has attracted alot of controversy and that is understandable. However, the problems (present though they are) don't really bother me as much as they have some listeners. Fritz Wunderlich is Tamino. I really shouldn't have to say anymore but it is worth repeating that this singer was one of the unique voices of history. He turns a fairy tale prince into the essence of pure romantic love. You never doubt him for a second. For me it comes down to the line "Es ist kein Traum!" ("It's not a dream!") at the end of Act 1. So much is poured into so little the effect is hard to describe. By the way, thinking of his early death is a guranteed tear-jerker while listening to this recording. Lear as Pamina is the chief problem for most. And it is true, she's not up to it. The quality of the voice is pleasant enough but she sounds too old and has breath problems. If only Janowitz were in her place!!! But I just don't feel she affects the performance too badly. She does have her virtues. She is emotionally involved and improves vastly in Act 2. I never felt like she was a blank slate; just a talented, nice voiced artist doing her best. This is not enough but it could have been MUCH worse.
With Peters I have to disagree with the general opinion. I find her perfect. Even her very few lines at the end are done in a way that make the spine tingle. "Der Holle Rache" is almost homicidal. She sounds like a lunatic but never looses control vocally. Crass is of course made for Sarastro. If you've ever heard this singer you know what he's going to do. He does it and it is just what the doctor ordered. Weight, sonority, richness of tone, etc. It's all there, don't worry about him!
With Dieskau we get a real treat! I thought he might overdo the role intellectually. Not at all, Papageno is as simple as a child. The innocence, charm and delight Dieskau pours in are breathtaking. You will love this character as you never have before. It is Wordsworth turned into music. Lisa Otto is an admirable Papagena and the final scene between these two will have you laughing and weeping with joy. Mozart believed in simple, domestic love and this was his final hymn to it.
Lenz is a great Monostatos and he does better with the role than most vocally and dramatically. All the minor roles are well done and often luxury cast (Hotter, King, Talvela) although it would have been nice to have three REAL boys. The dialogue is cut (oh well!) but not too drastically. Orchestra and chorus play and sing like angels. Lovely case and good liner notes. At this price you really can't go wrong. Buy and enjoy for many, many years! _
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~ Wolfgang Amadeus Mozart
~ Ludwig van Beethoven
~ Wolfgang Amadeus Mozart
~ Wolfgang Amadeus Mozart
by Wolfgang Amadeus Mozart 
![Mozart: Die Zauberflöte [The Magic Flute]](http://ecx.images-amazon.com/images/I/51DG8WS66FL._SL75_SS50_.jpg)
