“What's even worse than a flute? - Two flutes!”
― Wolfgang Amadeus Mozart
Unless, of course, we are talking about magic flutes. Welcome back to our list, and coming in at #20 on our list of the top 50 classical recordings of all time is a recording of the complete opera The Magic Flute (Die Zauberflote) by Wolfgang Amadeus Mozart. The recording was made by Decca records in 1990 with the Vienna Philharmonic conducted by Sir Georg Solti.
Mozart and The Magic Flute
Interestingly, this is the first composer to appear for a second time on the list. I included information on the life of W.A. Mozart back on the #12 entry on the list (Mozart’s Requiem), so for more details on Mozart you can refer back to that essay.
The singspiel opera The Magic Flute (Die Zauberflote) was composed in 1791, the same year of Mozart’s death. Even though it is difficult for us to imagine today, Mozart was not fully appreciated in his own lifetime. His biggest success up until he The Magic Flute had been another singspiel opera The Abduction from the Seraglio (Die Entfuhrung aus dem Serail) from 1782. Even though today we have all heard of the “Da Ponte” operas from Mozart (those operas in Italian where Mozart collaborated with the librettist Lorenzo da Ponte) including Le Nozze di Figaro (The Marriage of Figaro), Don Giovanni, and Cosi fan tutte (All Women Act That Way), those operas were not big hits during Mozart’s lifetime.
Although we don’t know the exact date, at some point in the fall of 1790 the impresario Emanuel Schikaneder approached Mozart to commission a new singspiel opera (an opera that includes both musical numbers and spoken dialogue) that would be made especially for Schikaneder’s Freyhaustheater or the Theater auf der Wieden, located in a suburb of Vienna. Schikaneder was known for putting on German plays and at times German operas in his theater. At the time, Mozart’s prospects for another Italian production seemed unlikely, so he became enthusiastic about the idea of writing a German-language opera. Mozart had known Schikaneder for many years, and was familiar with the high-quality productions at his theater. Many of the singers and actors that Schikaneder presided over were of the highest quality. Even though Mozart also became busy working on what would be his Requiem, as well as another opera La Clemenza di Tito, he accepted Schikaneder’s commission because the family needed the money.
The libretto for The Magic Flute came from Schikaneder himself, but most likely one of his sources is based on a fairy tale by Jakob August Libeskind titled “Lulu or the Magic Flute”. Other scholars note Schikaneder may have taken some inspiration from an essay he read on the Egyptians, as well as other literature of the time. Most of the time Mozart did not pay a great deal of attention to the libretto, as he considered the music itself to be primary. In fact, there is some evidence Mozart took some ideas from his contemporary Antonio Salieri (rather negatively and somewhat inaccurately portrayed in the film Amadeus), including the five-note flute theme meant to symbolize the “magic flute” whistled by Papageno (similar to a piece from Salieri), as well as from Salieri’s opera Prima la musica e poi le parole (First the music and then the words) where Mozart uses musical and textual play on words and sounds to imitate bird sounds and nature.
However, in the case of The Magic Flute, Mozart paid more attention to the libretto. Both Mozart and Schikaneder were practicing members of The Ancient and Venerable Order of Free Masons, and so they struck upon the idea of creating a German opera to glorify Freemasonry. The Masons had been founded earlier in that century in London, and had since spread all over Europe and to North America (Thomas Jefferson, George Washington, and Benjamin Franklin were all Masons). The idea of incorporating Masonic symbols into the new work, as well as catering to the fun-loving and lighthearted audience that frequented the Freyhaustheater, resulted in a sort of fairy-tale opera which included a lot of humor, some pomp and pageantry, and humanistic themes such as love, freedom, and brotherhood.
The opera abounds with Masonic symbolism. The stages of initiation for the Masons can be heard in the middle of the overture, symbolized when the music stops and then begins again. Multiples of three are important to the Masons, and you will notice this in the three boys, three ladies, and eighteen priests. Mozart includes some other symbolism in the music itself, such as the key it was written in, the number of bars written for certain musical numbers, and the specific points in the opera when singers enter. The initiation ritual for Tamino to enter the brotherhood reveals the pattern of where the Masons enter two by two. Generally the one being initiated enters by himself, but in the opera Tamino also enters with his woman Pamina. This is highly unusual, as women had no role in Freemasonry (with the exception of in France, where chapters included women). Some scholars believe this was intentional by Mozart to include a woman in the initiation, as women typically played a major role in his operas. It appears to be a suggestion by Mozart that women also be accepted into the Masons. It is not really known whether that suggestion ever took root, because about four years after the opera’s premiere, Masonry was forbidden in Austria and remained so until after World War I.
Ann Feeney in the All Music Guide gives a brief synopsis of the story:
“In this story about good and evil, Sarastro, the high priest of an enlightened brotherhood, abducts Pamina, whose mother is the evil Queen of the Night. The Queen sends Prince Tamino to save Pamina. Tamino not only falls in love with Pamina, but also accepts Sarastro as the incarnation of truth and goodness. Tamino’s counterpart is Papageno, the Queen’s bird catcher, whose earthiness counterbalances Tamino’s idealism. Predictably, love and goodness triumph, Sarastro overcomes the Queen of the Night, Tamino and Pamina are united after many trials, and Papageno finds Papagena, a female version of himself.”
Despite the inconsistencies and absurdities in the two-act story, The Magic Flute contains some of the most charming, endearing, and life-affirming music Mozart ever composed and that the world has ever heard. In some ways, the music in The Magic Flute is quintessential Mozart in its sophistication, in its invention, in the memorable melodies, and in the sweep and nobility he creates. Many young children and parents have very likely heard melodies from The Magic Flute played by toys, in cartoons, or videos. A few of the most recognized numbers from the opera include:
· Act I: “Der Vogelfanger bin ich ja” sung by Papageno (baritone), which is where we hear the five-note bird call that becomes symbolic of a magic flute. It is quite recognizable.
· Act I and Act II arias “O zittre nicht” and “Der Holle Rache kocht in meinem Herze” by the Queen of the Night (soprano), both of them written to display the virtuosity of the Queen by asking her to sing many incredibly high notes repeatedly in a thrilling high-wire act. The arias are usually an eagerly anticipated part of the opera, and how the soprano depicts the character of the Queen, perhaps more evil or perhaps more vulnerable.
· Act I: Aria by Pamina with some parts for Papageno “Bei Mannern, welche Liebe fuhlen”, one of the most recognizable melodies from the opera, and one of the most charming.
· Act I: Aria by Tamino “Wie stark ist nicht dein Zauberton”, again a very recognizable melody sung by Tamino (tenor), accompanied by a flute.
· Act I: Duet with Pagageno and Papagena “Schnelle Fuss rascher Mut” complete with part for a music-box like tune that could be straight out of a lullaby. Surely you recognize it? It is from Papageno’s magic bells. Mozart scored it for a long-lost instrument called a stromento d'acciaio (instrument of steel), but later it was played by a keyed glockenspiel, and today most likely by a celesta.
· Act II: Aria by Sarastro (bass) “O Isis und Osiris”, where we hear the Egyptian influence. One of the most famous arias from the opera, for which critic and philosopher George Bernard Shaw described as “the voice of God”.
· Act II: Pamina’s famous aria, “Ach, ich fuhl’s”, certainly one of the most well-known arias from the opera.
· Act II: Duet with Pagageno and Papagena, “Ein Madchen oder Weibchen” may be instantly recognizable to you, as it once again features the attractive lullaby tune from Papageno.
· Act II: Duet again with Papageno and Papagena, “Pa-Pa-Pa-Pa-Pa-Pa-Papagena”, again one of the most common tunes from the opera which you may have heard. It is charming and humorous.
A word about the dialogue included in the opera, it is a singspiel opera after all. As a sort of “completist”, my preference is for the dialogue to be included in recordings. Having said that, when listening to the opera I usually skip over the dialogue numbers because I am more interested in the music. However, I acknowledge the dialogue is an essential part of the story.
The Magic Flute turned out to be Mozart’s greatest success (and Schikaneder’s as well). The premiere was on September 30, 1791 with Mozart conducting. It was sold out night after night thereafter, it contained easily remembered music, had a simple yet profound message of love, beauty and wisdom, and employed some fantastic stage sets and state of the art “magical” effects. The bottom line is it touched people’s hearts, as it continues to do today. It has astonishing vocal effects as well, as audiences marveled and trembled at the Queen of the Night. They also laughed at the humor, especially from Papageno. The victory of light over darkness gives listeners hope. It had already reached 100 performances by November 1792, though sadly Mozart was not alive to see it.
For me personally, The Magic Flute is the greatest opera ever composed. In my opinion, along with his final symphony, Symphony no. 41 “Jupiter”, it represents the apex of Mozart’s genius and talent. The sparkling arias, the positive message of the story, the ensembles of undeniable beauty, and the enchanting and uplifting music make this a work I return to quite often.
The Recording
I hope the reader will allow me to include in the top 50 recordings of all-time a sentimental choice. As stated at the beginning, the recording is a complete version of The Magic Flute (Die Zauberflote) recorded by Decca records in 1990 with the Vienna Philharmonic conducted by Sir Georg Solti and with the following soloists:
Sarastro - Kurt Moll
Tamino - Uwe Heilmann
Queen of the Night – Sumi Jo
Pamina – Ruth Ziesak
Papagena – Lotte Leitner
Papageno – Michael Kraus
Monostatos – Heinz Zednik
Sir Georg Solti had recorded The Magic Flute previously for Decca in 1971, also with the Vienna Philharmonic and a different cast, so he clearly loved the opera. However, this 1990 recording is preferable for both performance and sound. The reason this is a sentimental choice for me is this was the very first opera I purchased back in 1992, and I even remember the little music shop where I bought it in Rome, Italy. I knew Solti’s name, as well as the Vienna Philharmonic, and I also knew I loved the opera. It was a new release at the time, and I spontaneously purchased the set. But it is not only a sentimental choice, but having heard all the other recordings of The Magic Flute available today, it is the one I return to most often due to the consistent singing, playing, and conducting in very good sound. Solti has a reputation, perhaps unfairly, of preferring bombastic and less than subtle interpretations. Here I find Solti to be very sensitive to every facet of the score, including the stage effects you can hear on the recording such as birds and thunder, as well as voices being far or near depending on how they would be heard in a stage production. In fact, this is one of the reasons I love this recording, because it feels like you are hearing a real opera performed on stage. Far from bombastic, Solti has the perfect feel for Mozart in my opinion. It is playful and light as appropriate, with the right amount of power, tension and drama where required. The tempi chosen by Solti, in my opinion, are just about right throughout. The two other sets listed below that I also love are the ones by Klemperer and Abbado. They have their devotees to be sure, and both are excellent. However, although I love how Klemperer conducts Mozart, I find he is a bit too slow in this opera. Abbado’s account is exciting and transparent, but I find he is rather too fast.
Sir Georg Solti (b. 1912 – d. 1997) was a Hungarian-British conductor known for his work in opera, in particular Richard Wagner and W.A. Mozart. Solti led the opera companies in Munich, Frankfurt, and most notably at Covent Garden in London. Outside of opera, he also had tenures as music director with the Orchestre de Paris and the London Philharmonic Orchestra. He is probably best known for his long tenure as music director of the Chicago Symphony Orchestra, where he made many recordings with Decca records. His recording with Decca of the complete Ring cycle of operas by Wagner with the Vienna Philharmonic, made between 1958 and 1965, is a landmark in recording history and is often cited as the greatest recording ever made (stay tuned, it may appear later on our list). Solti won 31 Grammy awards during his recording career. His recordings of the Mozart operas, in particular, are highly acclaimed.
Solti’s reputation as a conductor was not always the best. Some considered him to be too intense, too barbaric, too aggressive. He seemingly mellowed as he aged, but his interpretations remained extrovert. Arthur Jacobs and Jose Bowen in the Grove Dictionary of Music and Musicians said of Solti:
“His podium personality, exuberant and forceful, was clearly imprinted upon his music-making as he snarled and ferociously stabbed his baton. ... It became a cliché to say he mellowed as he got older, but his performances remained thrilling right to the end.”
The Vienna Philharmonic and the Vienna Sangerknaben sound glorious to my ears on this Magic Flute, captured in the Konzerthaus in Vienna. Among the soloists, I don’t believe there is a weak link. I have always loved Kurt Moll as Sarastro, and although he recorded the role other times, I find this to be his best performance. His portrayal of Sarastro is dark but comforting in nature, which is how the role should sound. Uwe Heilmann as Tamino is one of the biggest attractions for me, I believe his is one of the best sounding Tamino’s on record (even if Fritz Wunderlich on the classic Bohm set is even finer). I very much enjoy Ruth Ziesak’s Pamina, she creates a tender and thoughtful tone and I like the quality of her voice for the role. When this recording was made, South Korean soprano Sumi Jo’s career was just beginning to take off and she was performing in all the major opera houses. She recorded the role of the Queen of the Night twice for Decca, but this was the first one. Jo proves that the stratospheric notes in the Queen’s two big arias do not present a problem for her, and she sings spectacularly. Some have complained that Jo’s voice is too beautiful, and not scary enough, to play the Queen. I emphatically disagree, as I think she definitely has enough of an edge to her voice to make the Queen sound appropriately irritable. While a young Lucia Popp on Klemperer’s classic recording is still THE Queen of the Night for me, Jo is a close rival. Michael Kraus as Papageno and Lotte Leitner as Papagena are full of character and warmheartedness.
While I don’t believe you can go wrong with this recording, and for me it is indispensable, as mentioned previously there are several other excellent recordings of this magical opera:
Otto Klemperer leading the Philharmonia Orchestra recorded by EMI in 1964 in Kingsway Hall, London, and produced by the legendary EMI producer Walter Legge. This is the best sung Magic Flute in my opinion, with the fantastic Lucia Popp, excellent tenor Nicolai Gedda, a famous Sarastro in Gottlieb Frick, and a well-loved Mozartian Walter Berry as Papageno. The three ladies are a famous trio of Elisabeth Schwarzkopf, Christa Ludwig, and Marga Hoffgen. The sound is quite good for 1964. The only drawbacks in my view are the slower tempi chosen by Klemperer, and the Pamina of Gundula Janowitz, whose steely and somewhat intense voice is not a good fit for the role in my view. But this is a classic and beloved set, and for good reason. By the way, the dialogue is not included at all on this recording.
Claudio Abbado conducting the Mahler Chamber Orchestra in a live recording made in 2006 for the Deutsche Grammophon label. Fresh and invigorating, this is a very fine version which garnered a lot of acclaim when it was released. Using a smaller chamber orchestra of modern instruments, but employing some period playing qualities and tempi, this is one of the best accounts on record. The soloists are all excellent, but Hanno Muller-Brachmann as Papageno lacks some charm. At times I find the speeds a bit too fast, and I find myself missing some of the weightier string tone from Solti’s version, but this is definitely an interesting and worthwhile Magic Flute.
Karl Bohm leading the Berlin Philharmonic in another classic recording from 1964 on the Deutsche Grammophon label. Bohm’s account has many fans, and it has some truly great singing. Fritz Wunderlich as Tamino is unsurpassed, and Dietrich Fischer-Dieskau makes one of the best Papageno’s on record. Franz Crass is very fine as Sarastro. Roberta Peters as the Queen of the Night is good, but not at the top of my personal list. Evelyn Lear as Pamina is a weak link of the cast, her singing sounds unsure and unsteady. Bohm’s tempi are also on the slower side, and there are many cuts to the dialogue, but even so the set has many wonderful qualities.
Arnold Ostman conducting the Drottningholm Court Theatre Orchestra and Chorus in a period instrument and style performance recorded in 1993 for the L’Oiseau Lyre label, now re-issued on Decca. If you are looking for a period instrument performance, this one is outstanding. The sound is immediate and transparent, but also more intimate than most recordings. It respects the staging of the opera, similar to Solti. Sumi Jo is cast as the Queen of the Night once again, but this set has the advantage of the sweet-toned American soprano Barbara Bonney as Pamina. The male vocalists, particularly Kurt Streit as Tamino, are also very fine. An excellent set.
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Finally there is Mozart specialist, Australian Sir Charles Mackerras leading the Scottish Chamber Orchestra and Chorus from 1991 on the Telarc label. Using modern instruments, and period practices, Mackerras uses relatively fleet speeds. He also has a starry lineup of soloists including American tenor Jerry Hadley as Tamino, American soprano June Anderson as the Queen of the Night (her wide vibrato may annoy some), the great English baritone Thomas Allen as Papageno, English bass Robert Lloyd in one of his signature roles as Sarastro, and American soprano Barbara Hendricks as Pamina (perhaps not as girlish sounding as some, but still lovely). Mackerras is a great Mozart conductor, and the Telarc sound is excellent as usual. It includes all the dialogue and dramatic stage effects.
Happy listening until next time!
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Notes:
Brennan, Gerald. Ann Feeney. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 890. Backbeat Books, San Francisco. 2005.
Jacobs, Arthur and José A. Bowen. "Solti, Sir Georg", Grove Music Online, Oxford Music Online.
Landon, Robbins H.C. Wolfgang Amadeus Mozart. The Magic Flute. Vienna Philharmonic Orchestra. Sir Georg Solti. Die Zauberflote. Decca Liner Notes. Pp. 14-20.
Schonberg, Harold C. The Lives of the Great Composers, Revised Edition. Prodigy from Salzburg, Wolfgang Amadeus Mozart. Pp. 106. Norton & Company, London and New York. 1981.