Mozart - Die Zauberflote / Lott, Luxon, Goeke, Sandoz, Conquet, Fryatt, Haitink, Glyndebourne Opera

Description

Glyndebourne's 1978 production of Zauberflöte received as much critical acclaim for its imaginative sets by David Hockney as for the operatic performance itself. Like the set, John Cox's production of this opera emphasized its magical and mystical qualities. This program was directed for television by Dave Heather, whose skill at bringing out the best of both mediums has been acknowledged by television and music critics alike.

Customer Reviews:

Good, basic production.......2006-11-23

This DVD has many positives, if you don't mind the following: Its a 1978 production filmed in Britain, with a cast of Anglophones - and bear in mind there are spoken segments in this German opera. Its not a glitzy high-cost production, and there arent any dazzling special effects.
I also suspect that the subtitles in English aren't %100 complete or accurate. It was filmed live and later broadcast on TV, and the performers sometimes look into the camera which i thought was uncanny.

But heres what i like about it: The music is great, of course. Bernard Haitink and the London Philharmonic need no introduction. The performers are good as well - in particular Felicity Lott is a great Pamina, and Luxon gives a definitive Papageno.
Overall it has a fairy-tale feel to it, with hand-painted sets and traditional costumes for the roles. I suspect Mozart and Schikaneder would not have many objections to this one, as the production followed the original directions as much as possible according to the pamphlet (the flying gondola could not be pulled off however).
Volumes have been written about the symbolism and plot of this work, and the Masonic ties of the composer and librettist. Why not see what was called for and draw your own conclusions? At the very least you get to hear some great music!

The worst opera DVD I own?.......2005-09-01

I was amazed to find that there could be an edition of the Magic Flute that I simply wanted to turn off - and a Glyndebourne Opera edition, at that! I had bought it with high hopes at our local Stockholm music-shop - it was on sale, and now I think I understand why. The acting, especially Pamino's, is extraordinarily wooden - it is like seeing a high-school performer stumbling through his lines. Goeke's lack of schooling in how to pronounce German does not help, either - I have seldom had to actually cringe at how a recitative is pronounced. The sets, also, are inappropriate, overdone and silly-looking. Luxon tries to save the production by producing a wonderful, older, buffoon-like Papageno, but he is stranded amidst the other inadequate actors. And, finally, the orchestration is not to be recommended for those who tend to favour Harnancourt's or Gardner's interpretation of Mozart - the beauty of the music seems to be gone. This is only opera DVD I own (besides perhaps my Hansel and Gretel, but there I did not at the time realise how schmalzy Humperdink is, and there at least there are a few really fun songs) that I really just want to give away.

Musically and Visually Very Satisfying 'Magic Flute'.......2004-08-28

I've seen three of the four currently available DVDs of 'Magic Flute' (not including the one from Ludwigsburg), they all are terrific, and they differ from each other enough that if you are a real Magic Flute enthusiast you might even want to have all three. Frankly, I'm most impressed with the one from Covent Garden (with the best Papageno [Simon Keenlyside]) I've ever seen. But this one from Glyndebourne (1978) comes close. First of all, it has sets by David Hockney; these were the first Hockney sets after his extraordinarily successful 'The Rake's Progress' sets inspired by Hogarth's etchings. The 'Flute' sets are hard to describe because they borrow from all sorts of artistic periods and styles. There are Baroque cloud-mobiles (for the Three Boys), Picasso-esque cartoons, and Egyptian influences all over the place. (Indeed, the opera seems to be set in Egypt.) The costumes seem to be primarily Greek or Roman togas. Whatever the influences, the sets and costumes are always eye-catching. The stage production is by John Cox and is, for the most part, fairly conservative (and for that reason, not distracting or off-putting). But it is the musical values that make this a wonderful production.

Most impressive is the young Felicity Lott as Pamina. Her portrayal is a triumph from start to finish. I don't know that I've ever heard a lovelier 'Ach, ich fühl's.' Her Tamino is the American tenor, Leo Goeke, who looks the part of a young lover, sings with fervor and musicianly control, although his voice is not a traditionally beautiful one. Benjamin Luxon is a wonderful Papageno (dressed in the traditional bird-catcher costume). The voice is in fine estate and although not a great actor (as Keenlyside is), this is a musically very appealing portrayal. His Papagena is a beautiful woman, Elizabeth Couquet, who makes the most of the two sides of her character. Thomas Thomaschke is a rich-voiced (and young--that's slightly jarring) Sarastro, but has some control problems. May Sandoz has somewhat smudgy coloratura in her two arias and is the weakest principal here; she is certainly outdone by the amazing Diana Damrau, a true dramatic coloratura, in the Covent Garden production. Monostatos (John Fryatt) chews the scenery, a perfectly acceptable way of playing the character; his comprimario tenor is adequate to the rôle. Willard White brings his rich basso to the minor rôle of The Speaker. Much praise must be given to the Three Ladies (Teresa Cahill, Patricia Parker, and Fiona Kimm), the Three Boys (Kate Flowers, Lindsay John, and Elizabeth Stokes), as well as the Priests and Armed Men; each group presents a really outstanding ensemble sound.

The musical direction is by the always reliable Bernard Haitink and the Glyndebourne's London Philharmonic. Haitink, some think, is better suited to the 19th century literature, but I find his Mozart to be outstanding without being idiosyncratic; I must admit, though, that I'd give Colin Davis the edge in the Covent Garden DVD.

If you already have one of the other two DVDs alluded to (Levine/Met, C. Davis/ROH) you don't NEED this one, but if you truly love this opera you will want it anyhow. Felicity Lott, in particular, needs to be seen and heard.

Scott Morrison

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