Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden
by Sir Colin Davis, David McVicar
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DVD details
Actor: Diana Damrau, Dorothea Roschmann, Mozart, Simon Keenlyside, Thomas AllenDirector: David McVicar, Sir Colin Davis
Brand: Naxos OF America INC
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); Spanish (Subtitled); German (Original Language)
Format: Classical, Color, Dolby, DVD, NTSC
Picture Format: 1.78:1
Running Time: 185 minutes
DVD Release Date: 2003-09-23
Audience Rating: NR (Not Rated)
Studio: BBC / Opus Arte
DVD Reviews of Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden
DVD Review: Great singing, but a muddled production
Summary: 4 Stars
Die Zauberflote (The Magic Flute) was Mozart's favorite opera. It's also been his most consistent hit. It was a hit when it was first premiered, and to this day parents bring their kids to The Magic Flute, hoping the enchanting experience will make them lifelong operaphiles. The tunes are certainly familiar. So much so that most audience members count the five high F's the Queen of the Night has to hit.
On the other hand, Magic Flute is problematic for stage directors. Unlike the da Ponte opera, Magic Flute is not a straightforward human drama. It's a fairy-tale that is also generally considered to be an "in-joke" for the Viennese Freemasonry, of which Mozart was involved. Books have been written about the symbols, rituals, and contemporary social commentary that are hidden in this ostensibly charming fairy tale. The "trials" of Tamino are generally considered to represent the ultra-secret Freemason rites of passage. The Queen of the Night is supposed to represent the corruptness of the Viennese nobility. And so on. The point is, none of us really know, because: 1. the Freemasons were a secret society, and Mozart died without ever explaining the various symbols and in-jokes; and 2. the opera probably refers to contemporary events that would have been familiar only to the audiences of Mozart's time.
So, in other words, stage directors have to settle the dichotomy between the pure fairy tale-like aspects of the story (such as Papageno and Papagena and, well, the Magic Flute) and all the obscure, mysterious Freemason symbolism. Most directors simply give up and simply go for a straightforward, fun fairy tale. This means lots of pretty Egyptian sets, exotic colorful costumes, and the audience goes away happy and trying to hit the F's of "Der Holle Rach." Director David McVickar of the Covent Garden production tries to have it both ways. All the men (except for Papageno) are dressed as men would have been dressed in Mozart's time: pulled back, curled wigs, gilded vests, etc. The Queen of the Night and the Three Ladies are dressed in somewhat odd, surreal black gowns. Pamina is in a long flowing white gown that is *very* revealing in the, uh, bodice area. Papageno is in the typical doofus bird-catcher outfit, and Papagena is portrayed as a sluttish woman of a certain age turned into a beauty. The stage is dark for most of the opera, and there are only minimal references to Egypt. There's the odd couch and modern chair. In the end, however, McVickar can't hide the fact that this opera only really works *onstage* as a fairy tale, although he does make the fairy tale grimmer than usual. For instance, the Queen of the Night here is truly a frightening creature who threatens her daughter Pamina with a knife. The Papageno portrayal is very traditional. But overall, I found the overall concept of the production muddled. It's as if McVickar wanted to touch all of the aspects of Zauberflote, but the sum of all the parts do not add to a pleasing, cohesive whole.
As for the vocal performances, they range from the mediocre to excellent. Franz-Joseph Selig's voice is not weighty enough for Sarastro, and thus arias like "O Iris und Osiris" don't have tihe awe-inspiring majesty and gravitas of the best Sarastros. Will Hartman as Tamino is also disappointing -- one wonders why he was cast, as he has a rather dry, strangulated voice. Certainly not going to erase memories of Fritz Wunderlich. Tamino by the way is also dressed very "baroque" which makes it harder for the audience to look at him as an innocent young man. Hartmann is also a poor actor -- he constantly seems to be hunched over and frowning. Diana Damrau acts very fearsome, and hits all the F's, although like 99% of all Queens the voice can't help but get a bit shrill. Best of all are Simon Keenlyside (Papageno) and Dorothea Roschmann (Pamina). Keenlyside's baritone is gorgeous, and he truly acts like an innocent man of the wilderness. He's also funny and handsome; what more can you want? I found that I kept looking forward to Papageno to come onstage again. Roschmann's round, beautiful voice reminds me of a young Mirella Freni. She is also pretty in a sweet, wholesome way. Colin Davis conducts in a very un-"HIP" way; slow, leisurely tempos, minimal appogiaturas. I personally think that Historically Informed Performances (HIP) of Mozart give his operas a kind of rigorous, frenetic life that I find appealing. However, I am not averse to "traditional" Mozart either.
So overall, a pretty good performance vocally, but the production seems to want to please everyone, but it didn't please me.
More Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden reviews:
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Description of Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden
The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar's 2003 production of Mozart's last opera, recorded in sumptuous surround sound live at Covent Garden.SPECIAL FEATURES:
? Behind the Scenes
? Conductor Sir Colin Davis talks about Die Zauberflöte
? Illustrated Synopsis of the opera
It?s hard to find a DVD version of Mozart?s Die Zauberflöte that?s as well sung as this 2003 Covent Garden production. Led by the eminent Mozartian, Sir Colin Davis, orchestra and singers present a warm, often intense vision of the opera, not as the fairy tale it?s often taken for, but as a human drama of the passage from misguided beliefs to mature knowledge of self. Diana Damrau is the Queen of the Night for our time, with show-stopping bravura singing that tosses off the score?s terrifying high notes with almost casual abandon. Her acting and her fright outfit never leave you in doubt that she?s the evil presence here, even when she?s pretending to be a good mom concerned about her daughter, Pamina. Dorothea Röschmann is superb, floating pianissimo notes to die for and singing with a beautifully rounded soprano allied to a dramatic sense that make her Ach, ich fuhl's so moving. Will Hartman is a virile Tamino, a bit heavier of voice than most of the lyric tenors who take the role, but singing well. Like most Tamino?s, he?s upstaged by Papageno, the bird-catcher who?s his sidekick. Baritone Simon Keenlyside offers the best-sung Papageno one could hope to hear, and while he?s funny in many of his more physical scenes, he replaces the usual clownish buffoon with an earth-bound Everyman. The noble Sarastro, the lovers? guide to self-realization, is well sung by Franz-Josef Selig, whose ample bass easily encompasses the low Fs that make most basses sound strained.
The smaller roles are done well, too. Ailish Tynan has a romp as Papagena; the evil Monostatos is done to vocal and acting perfection by Adrian Thompson, the Queen?s Three Ladies are well-matched and appropriately edgy, and the Temple Priests are convincingly sung and acted. This production of Die Zauberflöte is a dark one. Producer David McVicar and conductor Davis reject the relatively recent transformation of the opera into a Disney-like romp for kids. The comic element in the opera is there, but its philosophical underpinnings--humanity?s fitful progress to a higher plane ? are paramount. There are still plenty of laughs with the fake dragon that pursues Tamino at the opera?s opening and Papageno?s funny business with a bird, among other chuckle-inducing scenes. But the production?s Stygian backgrounds make for an oppressive setting. When light enters, as in the pomp of Sarastro?s entry or the blazing yellow disc of the sun that conquers darkness, the opera?s meanings are crystal-clear. Most of the characters wear 18th Century outfits, to comic effect as Monostatos? heavy makeup, lipsticked mouth, and elaborate wig. But there are occasional incongruities: Tamino?s smock, the Three Boys? knit sweaters and short pants, and Papagana?s mangy fur coat, among others. They?re well intregrated into the staging so they don?t jar. Nor, aside from the occasional too-tight closeups, does the video direction. In the special features, Davis speaks of the opera?s tension between "lighthearted music and the seriousness of the story," and all elements of this production fuse those key aspects in a way that makes this DVD a joy to hear and watch. Dan Davis
Die Zauberflöte is an all-regions 2-disc set in 16:9 ratio. Sound options include Dolby Stereo and 5.1 Surround. Sung in German with subtitles in English and Spanish. Extras include an illustrated synopsis, a behind the scenes feature of the production, and Sir Colin Davis talking about Die Zauberflöte
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