Music / musikdvd-video

Die Zauberflöte


Description


Live-optagelse, Opéra National de Paris, Palais Garnier januar 2001.

Reviews (35)


MusicWeb international

2003 March

By

By

Gwyn Parry-Jones

2003 March

"Sorry to be negative, but the fact is that this is a most disappointing issue. The incomparable Bergmann realisation stays miles out in front as the best-ever filmed version of the piece, quirky though it is".


Politiken

d. 5. Feb. 2008

By

By

Thomas Michelsen

d. 5. Feb. 2008

"Ud over, hvad der må være Ruben Droles gennembrud i rollen som fuglefængeren, er der ikke meget her, der fænger. Ingen virker veltilpas i en søgt iscenesættelse, som endnu en gang får en til at tvivle på det store lys, operaverdenen i disse år ser i den ujævne, om end både flittige og spektakulære instruktør Martin Kusej ... Stemmerne rækker fra det gode til det dejlige, om end der til en start er for meget smør i Strehls mozarttenor".


Kristeligt dagblad

d. 17. Jan. 2022

By

By

Peter Dürrfeld

d. 17. Jan. 2022

"Også i sit sidste leveår begik Mozart den ene genistreg efter den anden ... ikke at forglemme hans sidste opera: Tryllefløjten ... Nu kan man erhverve sig en ønskeopførelse af det magiske værk, en live-opførelse fra Royal Opera House i London, optaget i 2017. Besætningen er fremragende med den schweiziske tenor Mauro Peter som en stout og statelig Tamino og den unge australske sopran Siobhan Stagg som en indtagende Pamina ... Den franske sopran Sabine Devieilhe er en påfaldende ungdommelig Nattens Dronning, men falder smukt ind i helheden. Endelig er den britiske baryton Roderick Williams som fuglefængeren Papageno en humørbombe af rang ... Det er hele vejen igennem en usædvanlig veloplagt version af den højt skattede opera, flot dirigeret af Julia Jones og sprudlende iscenesat af David McVicar".


Politiken

d. 5. Feb. 2008

By

By

Thomas Michelsen

d. 5. Feb. 2008

"Noget rigtig fint ved dens begavede genoplivning af ægte, barokinspireret 1700-talsscenografi. Papskyer og teatertorden vækker teaterlysten side om side med klipper, vilde dyr, egyptisk tempelinspiration og en Nattens Dronning fra Sicilien, der synger med instrumental klang og dramatisk kraft. Både Röschmanns varme Pamina og Piotr Beczalas prægtige Tamino ligger over Zürich-niveau. Her vil både traditionalister og mere eventyrlystne operafans kunne være med".


Politiken

d. 22. Dec. 2005

By

By

Jan Jacoby

d. 22. Dec. 2005


Jyllands-posten

d. 15. Dec. 2006

By

By

John Christiansen

d. 15. Dec. 2006

"Pierre Audis traditionelle opsætning med farveflotte billeder. Riccardo Muti får det bedste ud af Wiener Philharmoniker".


Berlingske tidende

d. 5. Dec. 2006

By

By

Søren Kassebeer

d. 5. Dec. 2006

"Verden bedste musical, som Pierre Audi har instrueret, og som med sine stærke farver og eventyrlige figurer, skabt af Karel Appel, ligner billeder fra en overdådig børnebog. Sådan kan Mozart også laves: uden fortænkte forvridninger og postulerede pointer. Som et eventyr, der ikke vil andet end bedåre, så længe det varer ... Den slags Mozart er ikke den mindst ringe Mozart, man kan forestille sig".


Jyllands-posten

d. 11. Jan. 2008

By

By

John Christiansen

d. 11. Jan. 2008

"Fra Zürich kommer også en mere dyster udgave af Tryllefløjten ... Ikke nogen folkelig tolkning, men nok psykologisk, endda erotisk ... Musikalsk er det en fremragende opførelse specielt for fans af Harnoncourt, som det dygtige orkester følger tæt. Matti Salminen synger endnu Sarastro, men han har gjort det friere før. Julia Kleiters Pamina er dejlig, mens Christoph Strehl ikke er nogen lyrisk Tamino. Elena Mosuc er fremragende som Nattens Dronning".


Jyllands-posten

d. 9. Dec. 2003

By

By

John Christiansen

d. 9. Dec. 2003

"En fortræffelig operaindspilning fra Royal Opera House i London af Mozarts Tryllefløjten sat i scene af David McVicar ... Tryllefløjten er smuk og spændende med mange detaljer, som man først rigtigt kan samle op i hjemmebiografen. Det er Mozart for alle. Operaen er taget alvorligt som en enkelt og ironisk ført marionetopera uden den store komik. Det humanistiske budskab kommer klart frem".


Jyllands-posten

d. 29. Dec. 2000

By

d. 29. Dec. 2000


BBC music magazine

2012 April

By

By

Michael Tanner (musikanmelder)

2012 April

"Vurdering: BBC music dvd choice" - "This is a wonderful performance. Though I have some criticisms about the production, I was more moved and enchanted by this than by any other Magic Flute I have seen on dvd ... The most sensational performance is by soprano Albina Shagimuratova, the finest Queen of Night I have ever heard. Instead of merely accurate coloratura, she makes her arias properly fire-eating. Mozart would have been amazed ... The production might be thought gimmicky, but ends up being charming and witty. This is a noble, ennobling achievement".


Diapason

2012 avril

By

By

Benoît Fauchet

2012 avril

"Les forces de La Scala y servent un Mozart de routine, plutôt désuet ... Pour le bonheur des yeux, donc!".


Diapason

2013 decembre

By

By

Emmanuel Dupuy

2013 decembre


Klassisk

2014, nr. 32

By

By

Andrew Mellor

2014, nr. 32

"Orkestret lyder slet ikke så kultiveret eller så spændende som Wiener Symfonikerne på Tryllefløjten-opførelsen fra Bregenz ... Ved siden af den produktion opleves denne her kedelig ... Oven i det er mange af karaktererne ikke tegnet særlig tydeligt op ... Musikalsk og dramatisk er hele oplevelsens højdepunkt Kate Royals underskønne Pamina ... [hun] synger de fleste af sine kolleger af scenen".


BBC music magazine

2013 Christmas

By

By

Hilary Finch

2013 Christmas

"Think Eros and Thanatos; think the battle between life, love and death ... You need quite a pool of literary reference for this production which, although it's as thoughtful and searching as Carsen's work often tends to be, is short on any sense of real enchantment or wonder ... The cast is generally strong, if not outstanding ... Simon Rattle, who claims to have spent his life avoiding this opera, is indeed not totally at ease with it".


BBC music magazine

2015 June

By

By

Max Loppert

2015 June

"Freshness of vision, emotional openness, genuine ensemble theatricality, a robustly physical sense of adventure humorous and serious (but never portentous) by turns, and an underlying directorial trust in Mozart's music, these qualities stay with me most strongly after two viewings ... Among the most rewarding experiences of the opera I've had in nearly five decades of Magic Flute encounters ... This one gives delight from start to finish".


BBC music magazine

2014 February

By

By

Michael Tanner (musikanmelder)

2014 February

"For visual effectiveness this new DVD and Blu-ray has no competition among a rich field of Magic Flutes ... it constantly amazes and enchants ... If it were silent it would still be worth watching. This is a pantomime beyond any child's dream ... Musically, too, it is never less than good ... But what disables it musically are two cuts ... I think, since it is so ravishing to look at, any lover of the work should see this production, but should also own a complete version".


Klassisk

2013, nr. 31

By

By

Andrew Mellor

2013, nr. 31

"Iscenesættelser på Bregenz Festivalens flydende scene tenderer mod det spektakulære, men denne opsætning, fra sommeren 2013, er til dato utvivlsomt den mest ambitiøse. Den flyder over med specialeffekter, lækkerier og dristige stunts ... Der er utallige øjeblikke af visuel skønhed, hvor man helt mister pusten ... Sangerne er generelt fortrinlige ... Monostatos er mere end passende uhyggelig, og Papageno vidunderlig barnlig ... Man skal ikke frygte, at hittepåsomheden og teknologien fører for vidt. Gennemgående føler man sig involveret af forestillingen".


Diapason

2014 fevrier

By

By

Michel Parouty

2014 fevrier


Operabladet Ascolta

(2019) 38. årgang nr. 3

By

By

Henrik Marcussen

(2019) 38. årgang nr. 3

"Dette er Tryllefløjten i en imponerende, udstyrsmæssig opdatering ... Dertil Festspilshusets store scene som legeplads for en handling, der er henlagt til en cirkus med Sarastro som cirkusdirektør, Tamino som den tapre kejserlige soldat og Pamina som hans attråede cirkusprinsesse ... Det visuelle er meget overvældende og stiller spørgsmålet om der nu også er plads til musikken. Ja ... Der er gode vibrationer hos Wienerfilharmonikerne ... En række gevinster hos sangerne. Papageno, Pamina og Monostatos skal især bemærkes - Goernes kælderbas og Shagimuratovas koloraturer ikke mindre ... De mange påfund vælter over hinanden og er ofte svære at gennemskue".


Klassisk

2013, nr. 31

By

By

Andrew Mellor

2013, nr. 31

"Iscenesættelser på Bregenz Festivalens flydende scene tenderer mod det spektakulære, men denne opsætning, fra sommeren 2013, er til dato utvivlsomt den mest ambitiøse. Den flyder over med specialeffekter, lækkerier og dristige stunts ... Der er utallige øjeblikke af visuel skønhed, hvor man helt mister pusten ... Sangerne er generelt fortrinlige ... Monostatos er mere end passende uhyggelig, og Papageno vidunderlig barnlig ... Man skal ikke frygte, at hittepåsomheden og teknologien fører for vidt. Gennemgående føler man sig involveret af forestillingen".


Diapason

2014 fevrier

By

By

Michel Parouty

2014 fevrier


BBC music magazine

2014 February

By

By

Michael Tanner (musikanmelder)

2014 February

"For visual effectiveness this new DVD and Blu-ray has no competition among a rich field of Magic Flutes ... it constantly amazes and enchants ... If it were silent it would still be worth watching. This is a pantomime beyond any child's dream ... Musically, too, it is never less than good ... But what disables it musically are two cuts ... I think, since it is so ravishing to look at, any lover of the work should see this production, but should also own a complete version".


BBC music magazine

2008 February

By

By

Michael Tanner (musikanmelder)

2008 February

"This performance from the Palais Garnier in 2001 is in most respects better than any other Magic flute I have seen, and in no respect less than excellent".


International record review

2012 March

By

By

Robert Levine (musikanmelder)

2012 March

"It is hard for me to recommend this outright as a "first" or only Zauberflöte, its ideas tend to get in its way ... but this is a fascinating take on the work that Flute afficionados will appreciate for plenty of reasons".


The gramophone

2012 May

By

By

Richard Lawrence

2012 May

"Vurdering: Gramophone choice" - "Excellent Queen and Pamina; the men less so, except for Papageno. Lively musical direction ... Don't miss this visually enchanting and thought-provoking treat".


International record review

2013 December

By

By

Robert Levine (musikanmelder)

2013 December

"Musically - particularly vocally - we are on very strong ground, without graves. Kate Royal is, hands down, the Pamina for the ages ... Pavol Breslik, equally charming ... uses his perfectly Mozartean sound with sensitivity ... Sir Simon's leadership is a bit shy ... One revels in the CPO's lushly beautiful playing ... So, despite the glories of Royal and Breslik, the Levine from Salzburg/1982 is better, the Colin Davis-led Covent Garden production, though very serious, is best".


Fono Forum

2014 Februar

By

By

Manuel Brug

2014 Februar

"Mit der Zauberflöte in der intellektuellen, aber optisch lieblosen Regie Robert Carsens als kühler Initiationsgeschichte konnten die Berliner zwar mit guten Starsängern punkten".


The gramophone

2015 May

By

By

Mike Ashman

2015 May

"Vurdering: Editor's choice" - "This is a people's Magic Flute which restores the tale's naive power. It is sparkily conducted in light, historically aware tempi by Marc Albrecht, and acted and sung as a tightly worked ensemble piece ... Subtle touches ease what we now find chauvinist and racist in the original ... Ingenious. Recommended".


The gramophone

2013 December

By

By

Richard Lawrence

2013 December

"It's a relief to welcome two productions of Die Zauberflöte that are unconventional, respectful and thought-provoking ... David Pountney's production for the floating stage on the lake at Bregenz is ... memorable ... Children will love this production, The performances are fine, including a magnificent Queen from ... Ana Durlovski".


International record review

2013 November

By

By

John T. Hughes

2013 November

"This production of Die Zauberflöte ... is colourful ... with fantastical creatures ... that include three dragons standing permanently at the back and to each side of the set ... Ana Durlovski as the Queen of the Night ... showing no strain ... Papageno, given a light-hearted touch by Daniel Schmutzhard in a voice of youthful security and a breezy manner. He draws the humour from the bird-catcher without resorting to slapstick".


BBC music magazine

2008 April

By

By

Michael Tanner (musikanmelder)

2008 April

"It is Harnoncourts's conducting which decisively undermines the performance, almost absurdly slow, occasionally the reverse of that. This is the only time I haven't been moved by one moment in this sublime work".

Vurdering (performance): 2/5.

Vurdering (presentation): 4/5.


International record review

2013 November

By

By

John T. Hughes

2013 November

"This production of Die Zauberflöte ... is colourful ... with fantastical creatures ... that include three dragons standing permanently at the back and to each side of the set ... Ana Durlovski as the Queen of the Night ... showing no strain ... Papageno, given a light-hearted touch by Daniel Schmutzhard in a voice of youthful security and a breezy manner. He draws the humour from the bird-catcher without resorting to slapstick".


The gramophone

2013 December

By

By

Richard Lawrence

2013 December

"It's a relief to welcome two productions of Die Zauberflöte that are unconventional, respectful and thought-provoking ... David Pountney's production for the floating stage on the lake at Bregenz is ... memorable ... Children will love this production, The performances are fine, including a magnificent Queen from ... Ana Durlovski".


The gramophone

2022 February

By

By

Richard Lawrence

2022 February

"Editor's choice: This is a restaging of the production by David McVicar that was first seen in 2003 ... The members of the cast are generally as good as their predecessors. The main difference lies in the conducting. Julia Jones is fleet, to put it mildly, whereas Colin David in 2003 gives more weight to the more solemn numbers ... Tamino is sung by Mauro Peter ... his singing is never less than graceful ... Papageno is played by Roderick Williams; beautifully sung, with perfect comic timing ... Sabine Devieilhe ... what a performance! ... [She] sails through 'Der Hölle Rache' with a pianissimo echo effect thrown in ... This spirited performance, with good video direction by Jonathan Haswell, will give a great deal of pleasure".