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Mozart: Die Zauberflöte, K620

This is certainly the most desirable version using modern instruments to appear since Solti's second recording in 1990. That said, its characteristics are rather nearer William Christie's 1995... — Gramophone Classical Music Guide, 2010 More…

Release Date: 15th May 2006
Catalogue No: 4775789
Label: Deutsche Grammophon
Length: 2 hours 28 minutes

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2006

Finalist
BBC Music Magazine

June 2006

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December 2006

Critics Disc of the Year
Gramophone Magazine

June 2006

Editor's Choice
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Mozart: Die Zauberflöte, K620

Work length2:28:24

$46.20

$63.00

Christoph Strehl (tenor), Anne-Caroline Schlüter (contralto), Heidi Zehnder (mezzo-soprano), Caroline Stein (soprano), Christoph Strehl (speaker), Hanno Müller-Brachmann (bass-baritone), Hanno Müller-Brachmann (speaker), Caroline Stein (speaker), Julia Kleiter (speaker), Anne-Caroline Schlüter (speaker), Heidi Zehnder (speaker), Erika Miklósa (soprano), Matthias Bernhold (speaker), Kurt Azesberger (speaker), Tobias Beyer (speaker), Martin Olbertz (speaker), Kurt Azesberger (tenor), Dorothea Röschmann (soprano), Dorothea Röschmann (speaker), Soloists of the Tölzer Knabenchor (boy soprano), Georg Zeppenfeld (speaker), Andreas Bauer (bass), Danilo Formaggia (tenor), René Pape (bass), René Pape (speaker), Danilo Formaggia (speaker), Erika Miklósa (speaker), Erwin Ortner (chorus master), Andreas Bauer (speaker), Sascha Borris (bass), Anne-Caroline Schlüter (countertenor)
Mahler Chamber Orchestra, Arnold Schoenberg Chor
Claudio Abbado
Recorded: 2005-09-12
Recording Venue: Teatro Comunale, Modena

Overture

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"Zu Hilfe! Zu Hilfe!" - Dialog "Wo bin ich?"

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Der Vogelfänger bin ich ja...He da!

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Papageno ... Ah! das geht mich an!

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"Dies Bildnis ist bezaubernd schön"

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Freue dich und fasse Mut, schöner Jüngling

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O zittre nicht...Ist's auch denn Wirklichlkeit

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"Hm! hm! hm! hm!"

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Ha, ha, ha! ... He, Sklaven!

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"Du feines Täubchen, nur herein"

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Bin ich nicht ein Narr

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"Bei Männern, welche Liebe fühlen"

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"Zum Ziele führt dich diese Bahn"

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"Wie stark ist nicht dein Zauberton"

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"Schnelle Füße, rascher Mut"

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"Es lebe Sarastro! Sarastro lebe!"

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Marsch der Priester

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Ihr in dem Weisheitstempel

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"O Isis und Osiris"

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"Eine schreckliche Nacht" - "Ihr Fremdlinge, was sucht ihr bei uns?"

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"Bewahret euch vor Weibertücken"

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"Wie? Wie? Wie?"

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Dialog "Heil dir, Jüngling - Ha, da find' ich ja die Spröde"

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Alles fühlt der Liebe Freuden...Zurück!

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"Der Hölle Rache kocht in meinem Herzen"

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Morden soll ich? ... Herr, strafe meine Mutter nicht

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"In diesen heil'gen Hallen"

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Hier seid ihr euch beide allein überlassen ... Ist das für mich?

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"Seid uns zum zweiten Mal willkommen"

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Tamino, wollen wir nicht speisen? ... Tamino, Du hier?

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"Ach, ich fühl's"

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Dialog "Nicht wahr, Tamino"

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"O Isis und Osiris, welche Wonne!"

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Dialog "Prinz, dein Betragen"

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"Soll ich dich, Teurer, nicht mehr sehn?"

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Tamino! Tamino! ... Mensch! du hättest verdient

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"Ein Mädchen oder Weibchen"

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"Da bin ich schon, mein Engel" - "Fort mit dir"

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"Bald prangt, den Morgen zu verkünden"

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"Der, welcher wandelt diese Straße voll Beschwerden"

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"Papagena! Papagena!"

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"Nur stille, stille" - "Die Strahlen der Sonne"

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Artists

René Pape (Sarastro), Erika Miklósa (Königin der Nacht), Dorothea Röschmann (Pamina), Christoph Strehl (Tamino), Hanno Müller-Brachmann (Papageno), Julia Kleiter (Papagena), Georg Zeppenfeld (Sprecher), Kurt Azesberger (Monostatos), Caroline Stein (Erste Dame), Heidi Zehnder (Zweite Dame), Anne-Carolyn Schlüter (Dritte Dame), Alexander Lischke (Drei Knaben), Frederic Jost, Niklas Mallmann (Soloists From Tölzer Knabenchor), Danilo Formaggia (Erster Geharnischter Mann), Sascha Borris (Zweiter Geharnischter Mann), Andreas Bauer (Erster Priester), Danilo Formaggia (Zweiter Priester), Tobias Beyer (Dritter Priester), Matthias Bernhold (Drei Sklaven), Martin Olbertz & Tobias Beyer

Mahler Chamber Orchestra & Arnold Schoenberg Chor, Claudio Abbado

Reviews

2010

This is certainly the most desirable version using modern instruments to appear since Solti's second recording in 1990. That said, its characteristics are rather nearer William Christie's 1995 period-performance (reviewed above).
Abbado undertook the opera for the first time in performances in Italy in 2005, directed by his son (the production was seen at the 2006 Edinburgh Festival). On this occasion, he conducts a direct, keenly articulated, inspiriting account of the score, obviously aware of what has been achieved in recent times by the authenticists, yet when he reaches the work at its most Masonic – the Act 2 trio and the scene with the Armed Men, Tamino and Pamina – Abbado, directing his beloved Mahler Chamber Orchestra, gives the music its true and wondrous import. The playing throughout is alert and scrupulously articulated.
Casts varied between performances; here Abbado assembled one predominantly chosen from a youngish generation of German-speaking singers, each of whom approaches his or her role with fresh sound and interprets it in impeccably Mozartian style. The Tamino and Pamina are well nigh faultless. Tamino has been taken by many outstanding tenors on disc but Christoph Strehl sings with a Wunderlich-like strength and beauty, and rather more light and shade than his famous predecessor brought to the role. His is a wonderfully virile, vital reading that gives pleasure to the ear, as much in ensemble as in aria. He is partnered by Dorothea Röschmann, who has already appeared as Pamina at Covent Garden, and in many other houses. Her full-throated, positive singing, finely shaped, cleanly articulated, is a true match for Strehl's.
Hanno Müller-Brachmann is a properly lively and amusing Papageno, and delivers the role in a richer bass-baritone than many interpreters provide. He doesn't attempt a Viennese accent in the dialogue (a fairly full version), but brings plenty of simple humour to the part. The high and low roles are well catered for. The Hungarian coloratura Erika Miklósa has been making a speciality of Queen of Night over the past few years and shows just why in a technically secure and fiery account of her two arias. René Pape sings Sarastro: now at the peak of his career, he conveys all the role's gravity and dignity in a gloriously sung performance. Kurt Azesberger is a suitably nasty Monostatos.
Abbado allows a few neatly executed decorations.
The extensive dialogue, spoken in a manner suitable for the theatre, sometimes sounds over-emphatic in the home, with the Papagena as an old woman the worst culprit. The recording is reasonably well balanced. As a whole the performance conveys a welcome immediacy and spontaneity and the daring of Abbado's way with the score is very alluring.

June 2006

Abbado… conducts a direct, keenly articulated, inspiriting account of the score… The playing throughout is alert and scrupulously articulated. The Tamino and Pamina are well nigh faultless. …Christoph Strehl… sings with a Wunderlich-like strength and beauty... He is partnered by Dorothea Röschmann... Her full-throated, positive singing, finely shaped, cleanly articulated, is a true match for Strehl's. Hanno Müller-Brachmann is a properly lively and amusing Papageno... René Pape sings Sarastro: now at the peak of his career, he conveys all the role's gravity and dignity in a gloriously sung performance.

2010

...a triumphant success. René Pape's magnificent Sarastro dominates the opera, just as intended...But most magical of all are the little vocal ensembles, wonderfully warm and refined...this is above all an affectionately relaxed performance, with Abbado continually revelling in the lyrical beauty of Mozart's wonderful score.

Mozart: Die Zauberflöte, K620

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