Also available on Blu-ray

Mozart’s Singspiel Die Zauberflöte seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflöte a refreshing treatment both thrilling and simple. Following overwhelming stage success, McBurney’s unique production received five-star reviews in the Dutch press: ‘a feast for the eyes and ears’ (Het Parool) and ‘Delicious!’ (Trouw) ‘‘...inventively staged...’’ (Daily Telegraph)
Running time: 156 minutes
Subtitles: English/German/French/Dutch/Japanese/Korean
Picture Format: 16:9, NTSC
Sound format: PCM Stereo / Dolby Digital 5.1 Region: All Region

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Mozart’s Singspiel Die Zauberflöte seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflöte a refreshing treatment both thrilling and simple. Following overwhelming stage success, McBurney’s unique production received five-star reviews in the Dutch press: ‘a feast for the eyes and ears’ (Het Parool) and ‘Delicious!’ (Trouw) ‘‘...inventively staged...’’ (Daily Telegraph)

Running time: 156 minutes
Subtitles: English/German/French/Dutch/Japanese/Korean
Picture Format: 1080i High Definition
Sound format: 2.0LPCM + 5.1(5.0) DTS

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

From the Queen of the Night’s vocal pyrotechnics to Papageno’s chirpy birdsongs, The Magic Flute is one of Mozart’s most charming and engaging operas. However, its fairytale surface conceals the mysteries of an initiation ritual and a multi-layered plot, packed with allegories to fire up the imagination. This celebrated production by artist William Kentridge joyfully bursts onto the stage of Teatro alla Scala in Milan, featuring the dazzling Russian coloratura Albina Shagimuratova as the Queen of the Night, and Italian bass Alex Esposito as Papageno, one of the most sought after artists of his generation.

Wolfgang Amadeus Mozart DIE ZAUBERFLÖTE (Blu-ray Disc Version)

Sarastro – Günther Groissböck
Tamino – Saimir Pirgu
Queen of the Night – Albina Shagimuratova
Pamina – Genia Kühmeier
Papagena – Ailish Tynan
Papageno – Alex Esposito
Monostatos – Peter Bronder


Milan La Scala Chorus and Orchestra
Roland Böer, conductor

William Kentridge, stage director

Recorded live at La Teatro alla Scala, 20 March 2011

Bonus:
- Overview of The Magic Flute
- Illustrated synopsis

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian, Spanish
Running time: 150 mins
No. of Discs: 1

Also available on Blu-ray



MOZART MOZART Die Zauberflöte • Roland Böer, cond; Saimir Pirgu (Tamino); Genia Kühmeier (Pamina); Alex Esposito (Papageno); Albina Shagimuratova (Queen of the Night); Günther Groissböck (Sarastro); Ailish Tynan (Papagena); Peter Bronder (Monostatos); La Scala O & Ch • OPUS ARTE OA 1066 D (DVD: 172:00); OA BD7099 D (Blu-ray: 172:00) Live: Milan 3–4/2011


This very Masonic opera pits the forces of Light—love, honesty, trust, reason, enthusiasm—against those of Darkness—lust, hatred, deception, fear, despair. William Kentridge in an interview included on this disc speaks of envisioning the original Masons in specific and the Enlightenment in general as part of a movement that brought “benign” colonialism to Africa, Asia, etc. He states that Die Zauberflöte is far less a matter of black-and-white sides when understood in this fashion, but instead of shades of gray. Fortunately, only some of this historically suspect interpretation actually finds its way into his production and set design. The result has its quirks, and some things definitely don’t work, but by and large it’s wildly creative and fun.


Multimedia has seldom been used so extensively in opera, so stylishly, or to such advantage. Kentridge essentially riffs on the idea of backlit projections as physical location, metaphor, and commentary, employing imagery drawn from turn-of-the-19th-century material. So when Tamino walks to a part of the stage, the words Tempel der Vernugt (Temple of Reason) are superimposed via projection; then he stands still, and the transparent gate of the stone edifice seems to pass over him. The second gate advances from the other side to silhouette itself on the first, a visual equivalent of the Prince’s compounded confusion. When Papageno’s music is first heard before his entrance, Tamino turns a projector/camera crank that throws on the back curtain a shadow image of a human who morphs briefly into a giant bird, and can pull birds out of thin air: Papageno, in other words, here depicted as something half-magical. Again, when Papageno and Monostatos cower on stage during their meeting, as each sings, the silhouetted image behind him is of the other looming over his huddled figure brandishing a weapon. I can’t praise such moments highly enough, and many others like them.


But I’m not convinced by Kentridge’s dressing up the Priest as an academician before a classroom chalkboard, showing geometric drawings—not when his discussion with Tamino is about love and virtue. Similarly, “In diesen heil’gen Hallen” doesn’t lend itself under any circumstances to backlit abstract geometric lines, equations, and a black-and-white silent film of a pair of pith-helmeted explorers viewing some previously unknown savannah. True, a bad king might speak such words as Schikaneder has written, while pursuing policies more along the lines of Belgium’s morally repulsive Leopold II; but no king could lie so convincingly to such music as Mozart has written. It’s a rule of opera (with very few exceptions) that music defines a character’s emotions, and Sarastro is all about benevolent, equalizing, all-embracing love, not logic and territorial invasion. The fit simply is wrong.


The static pictures that Kentridge often creates with his characters are necessary for the fluid animated line drawings à la Émile Cohl that loom over large portions of the stage. The performers’ acting is generally very good, though the singing is variable. Samir Pirgu offers a distinguished “Dies Bildnis,” but Ailish Tynan begins tremulously, with a few efforts at pitch that fail. Before the end of “Ich Vogelfanger bin ich ja” his voice settles down, revealing a thin but pleasant lyric baritone that turns harsh when pressed. Albina Shagimuratova is a lyric soprano Queen (and excels in this respect) rather than a stratospheric coloratura one, who manages the figurations of “Du wirst sie zu befreyen gehen” with slight uneasiness at the moderate speed Böer sets for her. Peter Bronder wobbles and barks his way through his part, but Genia Kühmeier delivers a beautifully refined “Ach ich fühls.” Günther Groissböck supplies a rock-solid bass and cantabile singing for Sarastro. I do feel his two arias go by too quickly under conductor Roland Böer, and are rendered prosaic as a result. This is as nothing compared to the music in the act I quintet that first introduces us to the Three Boys, however, which suddenly accelerates with a wrenching change of tempo, and rushes to its conclusion—as though people shouldn’t enjoy it. These are only a few of the changes to the score based as we are told on René Jacobs’s interpretation. There are noodling fortepiano chords between concert pieces and secco recitative at various times, such as at the conclusion of Tamino’s aria, and an entirely new section accompanying an overlong shadow play of Monostatos terrorizing Pamina. Since none of these alterations have ever been established as more than Jacobs’s personal preferences, however intelligent the source, it amounts to defining a new tradition every bit as arbitrary and in several instances anachronistic as any 19th-century one.


The camerawork by Patrizia Carmine is excellent, working obviously to second Kentridge’s design. Subtitles are furnished in English, French, German, Spanish, and Italian, with audio formats in Dolby Digital and DTS surround, and a visual format of 16:9 anamorphic.


I have my reservations, and some of them are strong. But for sheer visual exuberance and insight this Zauberflöte trumps the rest. I only wish Kentridge the stage director with an Idea didn’t get in the way of Kentridge the imaginative artist, but there’s so much of the latter that I’m more than willing to forgive the former. Strongly recommended.


FANFARE: Barry Brenesal


Sarastro – Günther Groissböck
Tamino – Saimir Pirgu
Queen of the Night – Albina Shagimuratova
Pamina – Genia Kühmeier
Papagena – Ailish Tynan
Papageno – Alex Esposito
Monostatos – Peter Bronder


Milan La Scala Chorus and Orchestra
Roland Böer, conductor

William Kentridge, stage director

Recorded live at La Teatro alla Scala, 20 March 2011

Bonus:
- Overview of The Magic Flute
- Illustrated synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian, Spanish
Running time: 150 mins
No. of DVDs: 1

The first release in a new partnership between Classical Opera and Signum Records begins with Mozart’s remarkable sacred singspiel Die Schuldigkeit des ersten Gebots, composed when he was just eleven. The music is full of tender beauty, dynamism and descriptive flair, and the young composer’s innate sense of understanding and sympathy for the human condition already shines through.

The story follows the efforts of The Spirit of Christianity (Andrew Kennedy) – aided by Divine Justice (Cora Burggraaf ) and Divine Mercy (Sarah Fox) – to win back the heart of a Lapsed Christian (Allan Clayton) as he lies fast asleep. In opposition to this however stands The Spirit of Worldliness (Sophie Bevan), who urges the Christian to forget what The Spirit shows him and to follow her pleasure-seeking philosophies. As Justice and Mercy withdraw to observe, The Spirit of Christianity seeks to win back the lapsed Christian, but will this lost soul be able to resist the temptations of indulgence and short-term satisfaction that Worldliness offers?

The second disc in this 2CD Set is an Enhanced CD, with an exclusive 10-minute feature on the making of the recording additional libretto and programme note translations. Full German to English translations included in the booklet.

The conductor Jérémie Rhorer is today regarded as one of the finest interpreters of the music of Mozart in general and his operas in particular. After conducting Die Entfu?hrung aus dem Serail at the Festival d’Aix-en-Provence in 2015, he performed it again at a memorable concert at the Théâtre des Champs-Élysées in Paris in September of that year with his orchestra, Le Cercle de l’Harmonie. It is this exceptional event, captured in a live recording conveying all the dramatic intensity of the opera, that we present today.

‘In Die Entfu?hrung, Mozart presents a completely unprecedented vision of the singspiel, with highly developed ensembles and musical continuity at a time when contemporary spectators were expecting the standard alternation between spoken and sung sections’, says Jérémie Rhorer in the interview that accompanies the discs. That musical dramaturgy lies at the centre of this interpretation, which is served by an outstandingly homogeneous cast.

This recording launches a series of recordings of concerts at the Théâtre des Champs-Élysées and a collaboration between Alpha Classics and Le Cercle de l’Harmonie, who will continue to place their excellence at the service of the great masterpieces of Mozart.

Also available on Blu-ray

Barcelona’s prestigious Gran Teatre del Liceu presents Mozart’s beloved Singspiel in an elegant, dramaturgically twisted production with a sparkling cast of top-rank international stars headed by coloratura soprano Diana Damrau as Konstanze and rising star Olga Peretyatko as Blonde. Stage director Christof Loy has conjured up a thought-provoking and strikingly original scenario in which both Konstanze and Blonde are feeling respect, admiration and even profound love for their captors. The result is a tantalizing approach that overturns the traditional patterns of good and evil.

“Diana Damrau achieved a huge success at the Barcelona Liceu.” Opera News “Franz-Josef Selig, the best Osmin I have ever seen.” Opera News

Wolfgang Amadeus Mozart
DIE ENTFÜHRUNG AUS DEM SERAIL

Selim – Christoph Quest
Konstanze – Diana Damrau
Blonde – Olga Peretyatko
Belmonte – Christoph Strehl
Pedrillo – Norbert Ernst
Osmin – Franz-Josef Selig

Liceu Grand Theatre Chorus and Orchestra
Ivor Bolton, conductor

Christof Loy, stage director
Herbert Murauer, set and costume designer
Olaf Winter, lighting designer

Recorded live at the Grand Teatre del Liceu, Barcelona, 2011

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Catalan, Chinese, Korean
Running time: 188 mins
No. of DVDs: 2

In the Summer of 1961, German Conductor Heinz Walberg Was in Charge of Teatro Colo?N's German Season and Decided to Present, Amongst Other Operatic Works, Mozart's Entfu?Hrung Aus Dem Serail. From a Time Prior to the Onrush of Historically-Informed Performances of Classical-Era Works, This Old-Fashioned (In the Best Sense of That Term) Production Featured a Cast Including Fritz Wunderlich As Belmonte, the Revered Anneliese Rothenberger, Renate Holm, Eugenio Valori, Who Sang at This Theater for Three Decades and Kurt Bohme, Whose Singing Career Lasted in Excess of Fifty Years.

MOZART Davide penitente. Regina coeli • Morten Schuldt-Jensen, cond; Trine Wilsberg Lund (sop); Kristina Wahlin (sop); Lothar Odinius (ten); Immortal Bach Ens; Leipzig CO • NAXOS 8.570231 (53:05)


In the spring of 1785, Mozart sought membership in the Tonkünstlersocietät or Composers’ Society, a Viennese charitable organization that supported the widows and orphans of composers. The Society responded to Mozart’s interest with a request for a new work to feature in their upcoming concerts. Pressed for time and already obligated to fulfill a number of other composing and performing commitments, Mozart was forced to recycle a liturgical work that had first been given in Salzburg two years earlier. Thus the C-Minor Mass, K 427, was recast to accommodate an Italian text (possibly by da Ponte) and, with two additional arias, first performed at the Composers’ Society concerts on March 13 and 15, 1785, in the National Theatre of the Hofburg. Two members of the original cast of Abduction from the Seraglio were among the soloists.


Davide penitente thus represents something of a hybrid, accorded a vivid and polished performance here under the direction of Morten Schuldt-Jensen. Trine Wilsberg Lund, Kristina Wahlin, and Lothar Odinius handle Mozart’s florid arias and ensembles with true distinction. The Immortal Bach Ensemble’s sound in the choral movements is rich and well blended. Enunciation, on the other hand, is occasionally less than perfectly clear, possibly a function of the infelicitous superimposition of an Italian text over music conceived for the Latin Ordinary of the Mass. The accompaniments of the Leipziger Kammerorchester are tactful, supportive, and feature some exquisite wind-playing. Another fine performance of Davide penitente is available (Deutche Harmonia Mundi 277045) by Sigiswald Kuijken with La Petite Bande and the Netherlands Chamber Choir.


The recording, made in the Leipzig Gewandhaus during the spring of 2006, is technically satisfying in all respects. Keith Anderson’s notes are characteristically fluent and informative.


FANFARE: Patrick Rucker

For this spectacular production of Mozart's Davide penitente on the vast stage of the Salzburg Felsenreitschule at the Mozart Week 2015, Marc Minkowski and the equestrian choreographer Bartabas used dancing horses and thus restored the former riding school to it's original function. Horses, riders from the Acad�mie �questre de Versailles and Bartabas himself, whose successful productions are unique in the world of art, perform their elegant dressage arabesques within this exceptional setting. Soloists, chorus and orchestra are ranged over three levels on galleries cut from the bare rock. The result is a unique synthesis of the arts. "A festival of beauty" (Munich Abendzeitung), "Minkowski and Bartabas have created a great piece of theatre" (NMZ)

MOZART Symphonie concertante, K 297b. 1 Quintet for Piano and Winds, K 452. 2 Oboe Concerto, K 314. 3 Dans un bois solitaire. 4 An Chloe. 5 Die Verschweigung 6 • Fernand Oubradous, cond; 1 Arthur Goldschmidt, cond; 3 O des Concerts Lamoureux; 1,3 Pierre Pierlot (ob); 1,2,3 Pierre Lefebvre (cl); 1 Jean Devémy (hn); 1,2 Maurice Allard (bn); 1,2 Irène Joachim (sop); 4,5,6 Yvette Grimaud (pn); 2 Ludwig Bergmann (pn); 4,5 Jean Germain (pn) 6 • ALPHA 800 (75:23)


Behind this imposing stack of headnotes is a historic collection of Mozart performances, made between 1938 (the first two songs) and 1951, and taken from the archives of Radio France. As must be clear, those were difficult years for music, and for life itself, in France. In the notes, Yvette Grimaud remembers that the Quintet recording was made (in 1948) when she was eating one meal a day. No one quite knew how the music they were making was going to be issued, and no one spoke about money. No one in fact spoke; they communicated through music, and seemed otherwise dumfounded.


So this is a holy recording to her. It is also eloquent, though not perfect. One hears in the first movement of the Piano Quintet the elegance of the winds, the sensitivity of the pianist, but one also hears Grimaud rush through several phrases, perhaps to give the sense of lightness, but disconcerting nonetheless. And one hears a prominent fluff by the usually impeccable horn, Jean Devémy. (There was of course no possibility of fixing such minor gaffes.) I find those problems more than compensated for by the beauty of the slow movement, in which horns and piano play with what Grimaud calls “serene amplitude.”


The Oboe Concerto and Symphonie concertante, featuring many of the same musicians, are similarly satisfying, though the sound of the concerto seems unnecessarily distant for a recording made, even on 78s, in 1951. I am less taken with the tremulous singing of Irène Joachim: she sounds a bit like the oboists of old, wavering and Victorian.


This is a collection for wind enthusiasts, I conclude, and as such, historically interesting as well as musically satisfying.


FANFARE: Michael Ullman

An attractive looking production, very traditional but lively and detailed in cloak swirling commedia dell’arte style, in Mozart-era costume and massive neo-Classical sets.
Out of the old school, is Muti’s conducting, …reasonably brisk and dramatically effective. As such, though it’s not my favourite reading, I very much enjoyed it.

We’re lucky to have Sir Thomas Allen’s Don, though a decade after his Glyndebourne triumph in the role. His acting is more youthful and psychotically magnetic than in James Conlon’s Cologne recording. ‘La ci darem la mano’…an unsettling mix of seduction and stalking. Francisco Araiza is an ardently Italianate Ortavio. Ann Murray is…Donna Elvira, imperious and touching. Suzanne Mentzer’s sparkling but vulnerable Zerlina, convincing in her rapport with Natale de Carolis’s light-voiced…Mavetto. The chorus work a lot harder than they sometimes do at La Scala, to good effect. All told, this staging is much richer than Michael Hampe’s worthy but rather drab incarnations for Karajan and Conlon. At mid-price this is very appealing.’

- Gramophone

Daniela Dessi and Delores Ziegler lead the cast in Mozart's brilliant and witty opera, as the two women whose faithfulness in the face of romantic love is ruthlessly tested in Da Ponte's comic tale. Mozart lavishes some of the finest music ever written on the unfolding story of the two sisters' chaotic and fickle love affairs with their two Italian army officers.

Fiordiligi: Daniela Dessi | Dorabella: Delores Ziegler | Guglielmo: Alessandro Corbelli | Ferrando: Jozef Kundlak | Despina: Adelina Scarabelli | Don Alfonso| Claudio Desderi

Orchestra & Chorus of Teatro alla Scala, Conductor Riccardo Muti

Part six of this mid-price collection, this DVD includes a 32 page booklet with full libretto by Lorenzo Da Ponte

ALL REGIONS
SUBTITLES: ENGLISH
Running time 186 mins
Picture format 4:3
Sound format Dolby Stereo

MOZART: Così fan tutte (Highlights)

Also available on Blu-ray


MOZART Così fan tutte & • Sylvain Cambreling, cond; Anett Fritsch ( Fiordiligi ); Paola Gardina ( Dorabella ); Kerstin Avemo ( Despina ); Juan Francisco Gatell ( Ferrando ); Andreas Wolf ( Guglielmo ); William Shimell ( Don Alfonso ); Teatro Real de Madrid O & Ch • C MAJOR 714508 (2 DVDs: 202:00+18:00) Live: Madrid March 2013


& kulTour with Holender: Michael Haneke


Così fan tutte is quite an unconventional little opera and unique for its time. It treats the subject of female inconstancy in romance, a topic that proved too controversial for 18th- or 19th-century tastes, but one that still piques our interest today, even if now considered a bit cynical and chauvinistic. If librettist Lorenzo Da Ponte had written a more conventional tale about male inconstancy instead, it likely would have already faded into operatic history. Perhaps Da Ponte got lucky in his choice of subjects, but then he always seemed to get lucky in his endeavors with W. A. Mozart. Perhaps we are underestimating the man. Of course, a sublime score from a true musical master does the mutual product no harm.


Here award-winning film and stage director Michael Haneke takes Da Ponte’s story even a bit further, with somewhat mixed results. Instead of two romantic couples we now have three, with Don Alfonso married to ladies’ maid Despina. This pair seems to bicker and fight like the best of modern couples, but they live in a sumptuous villa overlooking the Mediterranean. Set designer Christoph Kanter has located all the action in the couple’s modern drawing room, with low bookcases and a well-stocked wet bar on the left, and built-in couch and marble fireplace on the right. Three steps in the rear lead up to ceiling-high French doors that open onto a patio with ornate columns overlooking the sea. When we join the action, there is a costume cocktail party going on, 18th-century period costumes apparently optional. Of our six protagonists, only Don Alfonso is in period garb, although Despina wears what appears to be a clown suit (she also dons a red clown nose in her appearance as the medico at the end of act I). Fiordiligi wears a red party dress and Dorabella a black pant suit with t-shirt with her boyfriend’s visage on it. Later the t-shirt comes off, providing damning evidence to Ferrando that his lady has been rather naughtier than nice.


The two young naval officers begin by wearing suits and ties, but when they reappear ready for duty they are in naval greatcoats with powdered wigs and ceremonial swords reminiscent of Lord Nelson or John Paul Jones. Costume party or something else intended? The suitors’ Albanian disguises amount to colorful vests, patently false mustaches, and their neckties, now worn around their heads. The disguises, never serious, are gone completely by the end of act I, raising the issue of the girls’ complicity in the swap of mates. Curiously, the two couples pair up as originally until the little duet in act II where the girls choose up sides. Although making for a dramatic moment, one would think Don Alfonso and director Haneke would be promoting the swap of partners from the outset, as in most productions. Lurkers are another issue, those inappropriate characters who lurk silently on stage when they aren’t supposed to be there. For instance, the opening trio where the ladies’ faithfulness is questioned by Don Alfonso and defended rather ineptly by the young suitors is attended by the ladies in question. Their subsequent duet in praise of their prospective husbands’ effigies seems now a rather sardonic reply. Haneke gives us plenty of lurking, but it is never clear exactly why. In any case, this ploy has been used to excess in other so-called modern productions. Despina is portrayed here as angry and sad, a rather significant change in mood from her written role in what is supposed to be light comedy. I’m not saying director Haneke has completely set us adrift, it’s just not very clear to me exactly where his boat is steering.


Happily, the music-making is first-rate. I am a sucker for this particular Mozart score, so I may be no true judge, but it seems to me the Fiordiligi of Anett Fritsch is quite wonderfully sung, as is the Ferrando turned in by Juan Francisco Gatell. The others are all well above the norm and they all sing exceptionally together in the many ensembles. If I were picking nits, I would say Despina’s voice is not as clearly differentiated from the other young ladies as it might be and Don Alfonso lacks a certain baritonal heft found on many competing sets. Three musical numbers are cut, about average for a live performance, but Haneke has his singers taking extra time and vocal care with Da Ponte’s important recitatives, which are given virtually uncut. Hence the disc timing extends to nearly four hours, perhaps a bit long for modern tastes.


The trend today in opera recording is to live videos, and Così is no exception. The number of Così productions available on video disc is now nearly 20, but only four to date on high definition Blu-ray, this one included. I cannot pretend to have seen them all, but Fanfare ’s staff has reviewed many of them over the years; these reviews available to subscribers at the online Archive. Currently, I am partial to a Riccardo Muti-led performance from Salzburg I reviewed in Fanfare 34:6 with Margaret Marshall and Ann Murray as the two sisters. This Madrid production raises some interesting questions about the opera and is quite well sung. Recommended.


FANFARE: Bill White

Classical Music