But she never relies merely on technical virtuosity. ‘The evenness, agility and diamantine precision of her coloratura are phenomenal. Natalie Dessay (soprano) Orchestra of the Age of Enlightenment/Louis Langrée ‘Her voice is gently luminous and true in pitch, her singing of a scale ideal for this acoustic – yet she can pack an emotional punch.’ George Hall Regula Mühlemann (soprano) Basel Chamber Orchestra/Umberto Bendetti Michelangeli ‘What does stand out about the disc, an exhilarating listening experience almost throughout its absurdly short duration, is the mature warmth of musico-dramatic approach informing both singing and characterisation.’ Max Loppert Juan Diego Flórez (tenor) Orchestra La Scintilla/Riccardo Minasi The greatest opera composers of all time Three great recordings of arias from Mozart’s opera The Magic Flute ‘Freshness of vision, emotional openness, genuine ensemble theatricality, a robustly physical sense of adventure humorous and serious (but never portentous) by turns, and an underlying directorial trust in Mozart’s music: these qualities stay with me most strongly after two viewings of this DVD, among the most rewarding experiences of the opera I’ve had in nearly five decades of Magic Flute encounters.’ Max Loppert Maximilian Schmitt, Christina Landshamer, Thomas Oliemans, Nina Lejderman, Brindley Sherratt, Íride Martínez Soloists of the Knabenchor der Chorakademie Dortmund Chorus of Dutch National Opera Netherlands Chamber Orchestra/Marc Albrecht dir. René Jacobs thinks of it as a Hörspiel: it’s a play to be heard – and I don’t know a recorded Zauberflöte more thrillingly alive with fantasy, profoundly musical imagination, real magic, and real fun too.’ Hilary Finch For this is a total experience, perfectly tailored for private listening. ‘Anyone tempted to programme the remote-control to skip over the dialogue in this Zauberflöte will rue the day. In no other recording I know are you so aware of the originality of Mozart’s scoring, whether in the austere, hieratic colouring (trombones and basset-horns to the fore) of the music for Sarastro and the priests at the start of Act II, the manic glitter of Monostatos’s aria or the ethereal, other-worldly sonorities in the music for the Three Boys.’ Richard Wigmoreĭaniel Behle, Marlis Petersen, Daniel Schmutzhard, Sunhae Im, Marcos Fink, Anna-Kristiina Kaappola, Kurt Azesberger, Inga Kalna, Konstantin Wolff RIAS Kammerchor Akademie für Alte Musik Berlin/René Jacobs ‘Articulation is light and buoyant, tempos mobile yet never driven or inflexible, textures sharp and transparent.
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Rebecca Evans, Elizabeth Vidal, Majella Cullagh, Sarah Fox, Diana Montague, Lesley Garrett, Barry Banks, Simon Keenlyside, John Tomlinson Geoffrey Mitchell Choir London Philharmonic Orchestra/Charles Mackerras
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Read our full review of this recording here See her performing the character’s famous aria below. This Papageno arouses both delight and poignant emotions, and his singing is wonderfully strong and true in style.’Īlso noteworthy is Diana Damrau’s ‘sharply intelligent’ interpretation of the Queen of the Night.
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Critic Max Loppert writes: ‘Simon Keenlyside’s Papageno offers none of the vaudeville high jinks traditionally associated with the role: he brings to its comedy a Pierrot lunaire-like poetry, precisely achieved down to the smallest detail.
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The highlight of this filmed production is the performance by Simon Keenlyside as Papageno. Will Hartmann, Dorothea Röschmann, Diana Damrau, Franz-Josef Selig, Simon Keenlyside, Ailish Tynan, Adrian Thompson, Thomas Allen Royal Opera House/Sir Colin Davis, dir. The best recordings of Mozart‘s opera The Magic Flute The best opera recordings released in 2021 so far