Music / operafilm

Die Entführung aus dem Serail


Reviews (33)


MusicWeb international

2020 March

By

By

Mike Paar

2020 March

"This new release gives Zubin Mehta the honour of having four commercial recordings of Mozart's Turkish opera ... His direction on this evening is mellow and flowing. A great deal of consideration is given to the singers in their florid arias. His reading has warmth and charm ... Mauro Peter as Belmonte has an elegant and burnished tenor sound ... Lenneke Ruiten gives a tour-de-force reading of Konstanze ... She also looks quite lovely, and her acting is on a level similar to her singing ... Maximillian Schmitt as Pedrillo has a very enthusiastic and charming stage presence ... Sabine Devielhe is an adorable Blonde ... This mars what is in effect a very charming staging of Mozart's opera ... The sets and costumes are spare but quite beautiful and elegant ... Even so, the particularly fine singing of the female leads and Mehta's warm and winning reading of the score should absolutely be heard".


MusicWeb international

2020 February

By

By

Robert J. Farr

2020 February

"This production directed by the renowned Giorgio Strehler originated at The Saltsburg Festival in 1965 ... The period costumes of the production are quite magnificent but, it is the physical staging, particularly the lighting and the outcome of shadows and silhouettes, which define the production and its character, in combination with the palace architecture and the central sea view between two mighty portals, tastefully and variously lit as the occasion demands, with a ship passing into sight from time to time ... I have rarely heard him [Zubin Mehta] bring so much heart to his interpretation as on this occasion. Age has not blunted his musical capacity ... This widely admired production by one of the great producers of opera has been rescued from yesteryear by being refurbished and presented anew with its original, masterful conductor back on the rostrum, and a first-class singing cast".


MusicWeb international

2005 December

By

By

Göran Forsling (f. 1942)

2005 December

"Fine singing, good acting, charming sets ... presided over by a Solti less hectic than he has sometimes been. Good playing and technical quality ... Buy and enjoy!".


Classical net

2003

By

By

Raymond Tuttle

2003

"Filmed live at the Teatro della Pergola, Florence, in May 2002, here's an Abduction one can easily live with, even if one might disagree with some of its details. Scenically, the production is vividly colored eye-candy, and its musical values, while not unforgettable, are certainly high enough to encourage return visits to the seraglio".


Politiken

d. 10. Jan. 2006

By

By

Thomas Michelsen

d. 10. Jan. 2006

"Francisco Araizas luksuslyriske tenor, Martti Talvelas nænsomt modulerede kæmpebas og Edita Gruberovas ungdommeligt dramatiske koloratursopran, der fuldstændig stjæler scenen, hver gang hun åbner munden og lader sjælen forlade øjnene. Denne live-Bortførelse fra München 1980 er sangligt set et overflødighedshorn ... Et fint dvdtilbud til den, der ikke i forvejen kender Mozarts Bortførelsen fra seraillet. Eller til den, der bare vil nyde en stor buket luksuriøse Mozartstemmer, som de klang for 25 år siden".


Politiken

d. 30. Oct. 2007

By

By

Thomas Michelsen

d. 30. Oct. 2007

"Dirigenten og hans altid sprudlende orkester med originalinstrumenter trækker ... Vokalt er det spindesiden, der tilfredsstiller i denne haremsfortælling fra forne tiders Tyrkiet, hvor Hartelius ... koloraturkvidder er sikkert som de færrestes ... Men skal Mozarts syngespil slå igennem anno 2007, skal der altså mere til end et skævt lille Babelstårn i hjørnet af scenen".


Politiken

d. 16. May 2006

By

By

Jan Jacoby

d. 16. May 2006


Politiken

d. 2. June 2009

By

By

Henrik Friis (f. 1978)

d. 2. June 2009


Kristeligt dagblad

d. 5. Oct. 2005

By

d. 5. Oct. 2005

"Der er musikteater for alle pengene ... Alene maestros entré til indledning med det stormende bifald er næsten nok til selv at "være med" blandt det jublende publikum i rober og smoking. Billedkvaliteten er synonymt med tysk grundighed og påpasselighed, og alt omkring de tossede forviklinger gøres spiselige af et sangerhold med eksempelvis Martti Talvela som Osmin, Francisco Araiza som Belmonte og fremfor alt Edita Gruberova som Konstanze".


Jyllands-posten

d. 25. May 2006

By

By

John Christiansen

d. 25. May 2006

"Karl Böhm endnu i sprudlende form trods sine 85 år. Sikke en spændstighed i orkesterspillet. Og sikke sangere ... Her er han [Francisco Araiza] endnu en fornem Mozart-tenor. Edita Gruberova er hans Konstanze, som triumferer med virtuose og flotte koloraturer og tilmed giver dem mening. Reri Grist er en dejlig Blonde og Norbert Orth en charmerende Pedrillo".


Berlingske tidende

d. 5. Dec. 2006

By

By

Søren Kassebeer

d. 5. Dec. 2006

"I Bortførelsen fra seraillet rammer iscenesætteren Ivor Bolton storslået ved siden af, for ikke alene er den gamle haremshistorie blevet renset for orientalismer, også talerollen Bassa Selim er luget væk til fordel for en bevidst usammenhængende ikke-historie med brude og brudgomme og opvaskemaskiner og strygejern".


Jyllands-posten

d. 15. Dec. 2006

By

By

John Christiansen

d. 15. Dec. 2006

"Stefan Herheim er en nyskabende norsk instruktør. Hans Bortførelsen fra seraillet blev negativt modtaget, og han gjorde den klarere. Opførelsen, henlagt til en nutidig bryllupsfest, er indholdsladet".


BBC music magazine

2005 October

By

By

Michael Tanner (musikanmelder)

2005 October

"One of Böhm's last operatic assignments, he accompanies his fine cast with huge wisdom. Gruberova and Talvela are outstanding. August Everding's production, adventurous for 1980, is now a delight to look at".


Operabladet Ascolta

(2006) 24. årgang nr. 5

By

By

Henrik Marcussen

(2006) 24. årgang nr. 5

"Nok er denne live optagelse fra Münchens nationale teater 25 år gammel. Ikke desto mindre emmer den af ungdommelig friskhed, elegance, boblende vid ... Indspiration og energi udspringer fra veteranen Böhms velafbalancerede og gennemarbejdede greb ... Gruberova som en brillant Konstanze og Talvela som en pragtfuld skurkagtig Osmin sætter prikken over i'et i et glimrende ensemble. En smuk scenografi ... bidrager ydermere til en dvd-oplevelse, man igen og igen vil se frem til".


Klassisk

2014, nr. 34

By

By

Steen Chr. Steensen

2014, nr. 34

"Væk er den sædvanlige haremsstemning a la 1001 nat ... Festspilspublikummet ... er spredt rundt i hangaren og kommer helt tæt på handlingen ... Desirée Rancatore ... kan synge den vidunderligt svære arie Mater Naller Arten så suverænt ... Javier Camarena er en velsyngende Belmonte ... Der er ingen grænser for opfindsomheden her, hvor Mozarts syngespil bliver til levende, nærværende drama ... skabt til nuet".


BBC music magazine

2012 June

By

By

Michael Tanner (musikanmelder)

2012 June

"The first stroke of genius is to get Christoph Quest, a great actor, to play Pasha Selim ... The other five performers are magnificent singers, with Diana Damrau sensational ... Ivor Bolton's conducting is relaxed and affectionate, and really there is no respect in which this performance falls short of being a triumph".


Diapason

2012 mai

By

By

Michel Parouty

2012 mai

"Musicalement, on peut être satisfait".


BBC music magazine

2016 September

By

By

Anthony Pryer

2016 September

"This [is] the most convincing dramaturgical presentation of the opera in recent times ... Kehrer is magnificent as Osmin, Gunnell is lyrical and alert as Pedrillo, and Eriksmoen steers a delicate path between the amusing and the musically ravishing ... The real star is the conductor, Robin Ticciati, whose mercurial energy gives us the most exciting orchestral reading since Solti's 1987 version".


Diapason

2017 janvier

By

By

Jean-Philippe Grosperrin

2017 janvier


Klassisk

2016, nr. 42

By

By

Andrew Mellor

2016, nr. 42

"Denne traditionelle produktion af David McVicar [viser Bortførelsen som] ... musikalsk spændende, dramatisk rørende, visuelt smuk og fuld af sjov ... Sally Matthews levere en overbevisende indsats [som Konstanze] ... men perfekt er hun ikke ... Mari Eriskmoen udgave af Blonde er derimod klar som en klokke og skinner op til figurens høje E ... Neden under det hele lyder Orchestra of the Age of Enlightenment frisk, fuld af detaljer, energisk og ømt ... Feel good-opera når det er bedst".


The gramophone

2020 February

By

By

Richard Lawrence

2020 February

"Editor's choice: Strehler/Testi handles the balance between the comic and the serious astutely ... Lenneke Ruiten's superb performance - touchingly acted, fluently sung - makes you both believe and care ... Sabine Devieilhe soars effortlessly into the musical stratosphere ... You might not associate Mehta, or indeed La Scala, with Mozart, but the pacing - deliberate in the Act 2 finale as well as in 'O wie ängstlich' - seems just right, and the playing is splendid ... This is a delight".


International record review

2009 December

By

By

Robert Levine (musikanmelder)

2009 December

"By today's standards this is a conventionally set, intelligent staging of the opera ... Nikolaus Harnoncourt is on his best behaviour throughout, with textures remarkably clear, real spring in the orchestra, the "Turkish" instruments on stage (revolutionary!) and only the occasional eccentricity ... Brian Large's direction for the small screen is, as usual, excellent and so is the picture".


BBC music magazine

2010 February

By

By

Michael Scott Rohan

2010 February

"Harnoncourt's crisp conducting and Korn's Osmin are outstanding in this 1989 production. A generally decent cast, despite a shrill Blonde, slogs through a straighforward but stodgy staging".

Vurdering (performance): 3/5.

Vurdering (picture & sound): 4/5.


The gramophone

2007 Awards

By

By

Alan Blyth

2007 Awards

"Marc Minkowski is the moving spirit of the performance and "moving" is the right epithet, as most of his speeds are on the fast side ... He assembled a fine young cast, all of whom are up to their taxing parts".


BBC music magazine

2007 September

By

By

George Hall (musikanmelder)

2007 September

"This production of Mozart's opera is broadly traditional, being set in Turkey and period ... Musical values are high under conductor Mark Minkowski and the standard of singing strong without being outstanding".

Vurdering (performance): 4/5.

Vurdeing (presentation): 4/5.


International record review

2006 September

By

By

Roger Pines

2006 September

"Several Entführung DVDs are currantly available and all are superior to this new entry. It disappoints on every level".


The gramophone

2014 October

By

By

Richard Fairman

2014 October

"Overall, though, it is difficult to offer more than a qualified recommendation. You reaaly had to be there".


International record review

2014 July/August

By

By

Robert Levine (musikanmelder)

2014 July/August

"What better place to stage it then in Salzburg Airports gigantic Hangar 7 ... The musical operformances ... are quite good ... Sound and picture are remarkable, especially given the hurdles".


Fono Forum

2014 August

By

By

Manuel Brug

2014 August

"In dessem hauseigenem Hangar auf dem Salzburger Flughafen ... inszenierte der als Filmregisseur aufgefallene Christoph Marthaler-Bruder Adrian metiersicher spaktakuläre Bilder für die vielen Kameras ... Noch einmal technisch überarbeitet, ist das ein flotter Mittsommer-Mozart aus ungewohnter Perspektive geworden".


The gramophone

2003 June

By

By

Michael Scott Rohan

2003 June

"A first-rate cast and a visual feast to boot ... Its straightforward without being staid, a crisp, witty, fast-moving production and in Christoph Wagenknechts colourful set, a seascape fronted with swiftly sliding panels in Turkish patterns, visually delightful as well ... Musically, too, it holds its end up. Zubin Mehta is not my ideal Mozartian, but he conducts with affectionate warmth and theatrical verve ... entirely recommendable".


The gramophone

2012 May

By

By

Richard Fairman

2012 May

"Christof Loy's highly praised production from Barcelona squeezes every last drop of comedy from the piece ... The setting here is the present day and Loy typically favours a bare stage to focus attention on the issues ... The musical performance deserves better than this. Diana Damrau ... is the main highlight of the performance ... Ivor Bolton gets lively playing at uncontroversial speeds down in the pit".


Fono Forum

2016 September

By

By

Manuel Brug

2016 September

"In Glyndebourne ... werden die Löscher immer grösser zwischen den Musiknummern, die Glyndebournes Musikdirektor Robin Ticciati am Pult des fein klingenden Orchestra of the Age of Enlightenment mit Schwung und Spannkraft auszufüllen weiss ... Es wird vor allem opulenter, detailreicher Realismus zelebriert, mit mindestens zwanzig in warmes Dämmerlicht getauchten Szenenwechseln und wuselnden Statisten".


The gramophone

2016 August

By

By

Richard Lawrence

2016 August

"This is such an enjoyable production of Mozart's Turkish opera ... First of all, three cheers for David McVicar, who by including most of the dialogue has restored the proper balance between speech and music ... The visual aspect is gorgeous, Vicki Mortimer's set, with its many scene changes, evoking a romantic view of the Orient ... In the pit, Robin Ticciati conducts the heroes of the OAE in a fleet account of the score ... Edgara Montvidas's ... Belmonte is ardent, impatient and, at the end, utterly chastened ... Sally Matthews sings superbly ... Ticciati/McVicar is a delight".