Mozart:Die Zauberflote

The bad news is that Moll is not in quite as good voice as he was in either his Solti or Davis CD audio only performances. The good news is that he is still magnificent, and this is the best Zauberflote I have ever heard!

I never had much respect for James Levine as a conductor. Well that has changed. For reference, my favorite flute's ever were 1)Christie on Erato 2)Klemperer on EMI 3)Beecham on EMI. All had there problems, but Christie I found to be the overall best flute I knew including all cast, conducting, acting, and recording. And it has been replaced by a DVD flute!

What I loved about this performance:

First of all the conducting is very fine. It is very sharp and disciplined performance with precise singing (litte romantic sliding of notes) and there is, best of all, a wonderful sense of listening between all the singers and the orcherstra. It was obviously meticulously rehearsed for the 1991 Mozart celebrations. Mozart is the most difficult music to perform because you cannot get away with any emotional sloppiness, which means a luminous precision is always called for. This performance has this quality better than any other I know.

There are some weak bits in my opinion however. A few of the arias really drag their feet in a failed attempt for the conductor and singer to find the right inspiration. As much as I like Moll, I find his arias too slowly sung, as well as the Isis and Osiris chorale. Fortunately they still are very effective due to Moll's maginificent voice and the solemn nature of the music itself.

Also, occasionally things can be a bit brisk to let the music breathe properly. Overall however, I would give this flute the best marks for conducting.

The singing/acting also has no weak links and many outstanding aspects.

Ariaza's Tamino is merely good--at his best with the speaker, and worst in final union music with Pamina. After the first trial he slightly misses a key timing, which when sung perfectly (hear Blochwitz on Christie) is one of the most sublime moments in the score. Still, this is a good, solid Tamino--well acted, suitably noble if a bit too old. Overall:B-

The three ladies are some of the most delightful I've heard. The 2nd has a slightly grating tone, but their timing, harmoninzing, and accuracy puts them right at the top. A-

Papageno is solid if rather a bit overdone. Hemm has a lusty, solid bavarian baritone which suits the part in my opinion. It is not a radiantly beautiful voice (hear Keenlyside on Davis), but solid and powerful. Many papageno's have been more charming, but Hemm is still good, and very find in ensembles. B

Serra's Queen is up near my all time favorites: Popp on Klemperer, Dessay on Christie, Damrau on Davis. She rather lacks warmth however, which puts her slightly below these on the first aria. The 2nd is as good as anyone. A-

Battle's Pamina is my favorite ever. I feel it was this sort of voice Mozart had in mind for the part--a radiant soprano. Battle's interpretive insights have often left me cold before, but I find her Pamina just spot on. She plays it with a Tempest Miranda sort of innocence and wornder. I find this suits Pamina exactly. A+

Monostatos is also the best I have ever heard. Singers tend to make him rather bland for some reason, but this singer gives him oodles of dramatic force. A+

Boys are superb. Their trio with battle's Pamina is the finest I have known as well. One boy in particular has amazing power and accuracy. A

Sarastro is Moll not in his best voice, but it is still Moll. A

Choir. Big American heavy vibrato style. Not my cup of tea, but more importantly the choral pieces are sung with genuine Masonic fervor that makes them satisfying regardless. B

Speaker. Andreas Schmidt is as fine here as I have ever heard him. Wonderful warmth and force. A

This is getting too long! While there is much in this performance that I still can imagine better, in overall quality this is by some margin the best performance I have heard or seen of this opera. Certainly those who love particular parts more than others will find other performances superior (Tamino lovers for instance will always treasure Wunderlich/Bohm), but if you love every note of this opera as well as its Masonic themes, I would give this the top recommendation.

O, A+ english subtitles too. Video,sound and production are good, though not the best in my opinion. Overall the production has a sort of childish artistic style to it, which I thought was fine. But then Im mostly here for the music.

It's excellent in terms of singing, acting, support from the orchestra and photography. The photography is of the highest quality. Costumes are as imaginative and effective, the settings are artistic and evocative as could be.

The jewel of the crown is of course the Queen of the Night and her two arias. Such a voice and such technique that rendered the arias so intriquing, that I went back to them three times already. Papageno's and Pamina's part (her voice mixes so well with her counterparts) are great. All the singers/actors including their costumes and the props are so pleasing to the eyes. The rhythm goes fast and is never boring at all. Needless to say, Levine the conductor is marvelous too.

If there is anything to say against the play, it is the hoisting of the three little singing boys halfway up in the midst of the clouds, so to speak, which made them rather uptight. But that is a very small point indeed. The perfomance well deserves 5 stars whichever way your look at it.