Great Recordings Of The Century - Mozart: Die Zauberflote / Karajan, Dermota, Seefried, Lipp, et al

Editorial Reviews
Amazon.com
Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad overresonant and diffuse, yet it's clear that Karajan could make the temperamental Vienna Philharmonic of that period play better than their norm for conductors who were more famous at the time. Klemperer's stereo EMI recording remains the first choice among dialogue-free versions of Mozart's valedictory opera, but lovers of supreme Mozart singing cannot pass up this excellently remastered entry in EMI's Great Recordings of the Century series. --Jed Distler

Great Recordings Of The Century - Mozart: Die Zauberflote / Karajan, Dermota, Seefried, Lipp, et al, Music, Wolfgang Amadeus Mozart, Wolfgang Amadeus Mozart, Wiener Philharmoniker, Annelies Stuckl, Anton Dermota, Eleonore Dorpinghans, Else Schurhoff, Emmy Loose, Erich Kunz, Erich Majkut, Friedl Riegler, George London, Harald Proglhoff, Hermine Steinmassl, Irmgard Seefried, Ljubomir Pantscheff, Ludwig Weber, Peter Klein, Sena Jurinac, Wilma Lipp, Herbert von Karajan, Irmgard Seefried, Anton Dermota, Erich Kunz, Emmy Loose, Ludwig Weber, Wilma Lipp, George London, Peter Klein, Sena Jurinac, Friedl Riegler, Else Schurhoff, Hermine Steinmassl, Eleonore Dorpinghans, Annelies Stuckl, Erich Majkut, Harald Proglhof, Vienna Philharmonic, Classical, Classical Music, German/Austrian Classical Period Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Great Recordings Of The Century - Mozart: Die Zauberflote / Karajan, Dermota, Seefried, Lipp, et al
Average customer rating: 4 out of 5 stars
  • Now let us sing of famous double crosses
  • A pre-war Magic Flute in style, with lovely singing and dull sound
  • Severely Underrated!
  • Furtwangler's cast in von Karajan's recording
  • Sound quality not of this time
 Great Recordings Of The Century - Mozart: Die Zauberflote / Karajan, Dermota, Seefried, Lipp, et al
Herbert von Karajan , Irmgard Seefried , Anton Dermota , Erich Kunz , Emmy Loose , Ludwig Weber , Wilma Lipp , George London , Peter Klein , Sena Jurinac , Friedl Riegler , Else Schurhoff , Hermine Steinmassl , Eleonore Dorpinghans , Annelies Stuckl , Erich Majkut , Harald Proglhof , and Vienna Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
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Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
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Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
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OperettasOperettas | Opera & Vocal | Styles | Music
Similar Items:
  1. Great Recordings Of The Century - Mozart: Le Nozze Di Figaro / Karajan, London, Schwarzkopf, Seefried, et al
  2. Great Recordings Of The Century - Mozart: Cosi Fan Tutte / Karajan, Schwarzkopf, Merriman, Otto, Simoneau, et al
  3. Mozart: Die Zauberflote
  4. Mascagni - L'amico Fritz / Freni, Pavarotti, Sardinero, Gavazzeni
  5. Handel: Rinaldo

ASIN: B00000K4GC
Release Date: 1999-09-21

Tracks:

  1. Overture
  2. Zu Hilfe! Zu Hilfe!
  3. Der Vogelfanger Bin Ich Ja
  4. Dies Bildnis Ist Bezaubernd Schon
  5. O Zitt're Nicht, Mein Lieber Sohn
  6. Hm! Hm! Hm! Hm!
  7. Du Feines Taubchen, Nur Herein
  8. Bei Mannern, Welche Liebe Fuhlen
  9. Zum Ziele Fuhrt Dich Diese Bahn
  10. Zuruck! ... Zuruck?
  11. O Ew'ge Nacht!
  12. Wie Stark Ist Nicht Dein Zauberton
  13. Schnelle Fusse, Rascher Mut
  14. Wer Viel Wagt, Gewinnt Oft Viel! ... Das Klinget So Herrlich
  15. Konnte Jeder Brave Mann
  16. Es Lebe Sarastro!
  17. Herr, Ich Bin Zwar Verbrecherin!
  18. Nun, Stolzer Jungling; Nur Hierher!
  19. Fuhrt Diese Beiden Fremdlinge

Tracks:

  1. March Of The Priests
  2. O Isis Und Osiris
  3. Bewahret Euch Vor Weibertucken
  4. Wie? Wie? Wie?
  5. Alles Fuhlt Der Liebe Freuden
  6. Der Holle Rache Kocht In Meinem Herzen
  7. In Diesen Heil'gen Hallen
  8. Seid Uns Zum Zweiten Mal Willkommen
  9. Ach, Ich Fuhl's
  10. O Isis Und Osiris
  11. Soll Ich Dich, Teurer
  12. Ein Madchen Oder Weibchen
  13. Bald Prangt, Den Morgen Zu Verkunden
  14. Der, Welcher Wandelt Diese Strasse Voll Beschwerden
  15. Tamino Mein! O Welch Ein Gluck!
  16. Triumph, Triumph, Triumph, Du Edles Paar
  17. Papagena!
  18. Pa-pa-gena! ... Pa-pa-geno!
  19. Nur Stille!
  20. Die Strahlen Der Sonne

Amazon.com

Among recordings of Mozart's Magic Flute that omit the spoken dialogue, Herbert von Karajan's 1950 Vienna Philharmonic traversal stands out for its tightly knit vocal ensembles and outstanding cast. Irmgard Seefried's silvery Pamina complements the lyrical flexibility that Anton Dermota brings to Tamino; Erich Kunz is a bubbly, yet dignified, Papageno; and Ludwig Weber imbues Sarastro's arias with gorgeous, sustained tones. At the other end of the pitch spectrum, Wilma Lipp effortlessly negotiates the Queen of the Night's stratospheric turf. The sonics are a tad overresonant and diffuse, yet it's clear that Karajan could make the temperamental Vienna Philharmonic of that period play better than their norm for conductors who were more famous at the time. Klemperer's stereo EMI recording remains the first choice among dialogue-free versions of Mozart's valedictory opera, but lovers of supreme Mozart singing cannot pass up this excellently remastered entry in EMI's Great Recordings of the Century series. --Jed Distler

Customer Reviews:

5 out of 5 stars Now let us sing of famous double crosses.......2006-10-23

SOURCE: Studio recording made at the Brahmsaal in Vienna on November 2,3, 6-9, 13-16, 20 and 21, 1950. Digitally remastered in 1999.

SOUND: This is a mono recording from 1950 made with what amounted to the very best 1940s technology. As noted by other reviewers, the singers are right up front (precisely where I want them to be) and the orchestral sound is compressed and a bit dull by digital-era standards. Nevertheless, the sound is pleasing if heard with a little good will, and acceptable to anyone but narrow-minded audio purists.

CAST: Tamino, a prince lost and adrift somewhere in Faery (tenor) - Anton Dermota; Pamina, daughter of the Queen of the Night and reluctant guest of Sarastro (soprano) - Irmgard Seefried; Papageno, a bird catcher by profession and a human parrot by preference (baritone) - Erich Kunz; The Queen of the Night, a lady of forceful personality (soprano-and then some!) - Wilma Lipp; Sarastro, a true Son of the Light (or maybe the head of a nut cult) (bass) - Ludwig Weber; Speaker, Sarastro's gate keeper (bass-baritone) - George London; Three Ladies of the Queen of the Night - Sena Jurinac, Friedl Riegler, Else Schurhoff; Papagena, seventeen years old and already a hunka' burnin' love (soprano) - Emmy Loose; Monostatos, a would-be disciple of Sarastro who has issues (character tenor) - Peter Klein; Armed Man and Priest - Erich Majkut; Armed Man - Ljubomir Pantscheff; Priest - Harald Proglhoff; Three Boys - Annelies Stuckl,, Eleonore Dorpinghans,, Hermine Steinmassl. Conducted by Herbert von Karajan with the Wiener Philharmoniker und Singverein der Gesellschaft der Musikfreunde in Wien.

DOCUMENTATION: Typical GROC package, including libretto and English translation.

FORMAT: "Die Zauberfloete" is a German Singspiel, that is, a work consisting of musical numbers separated by spoken dialogue. None of the dialogue was recorded. In partial justification for this omission it should be remembered that the set was conceived for issue on 78 rpm disks. Assuming a playing time of about three-and-a-half minutes, the 129 minutes of recorded music would have spread over 36 or 37 sides-18 or 19 disks! Those disks, in turn, would have been offered in bound "albums," each containing five disks. Just lifting the whole opera would have been a task, let alone paying for it. It simply made no economic sense during the 78 rpm era to add many additional disks and substantially increase the cost of the set by recording dialogue.

After the War, the great EMI producer Walter Legge turned over the rubble in Germany and Austria in search of musical talent. He found Elisabeth Schwarzkopf, signed her up and then married her. He put the greatest of all German conductors, Wilhelm Furtwaengler, under contract soon after he emerged from his traumatic "de-Nazification" process in 1947-as he also did Herbert von Karajan. In retrospect, it seems evident that he regarded Furtwaengler, who was in his sixties, as The Man of the Past and the generation-younger Karajan as The Man of the Future. Needless to say, Furtwaengler would have disagreed with those ideas as vehemently as Karajan would have embraced them.

Furtwaengler was busy, to say the least, from 1947 to 1950, stoking the flickering flames of the great orchestra in Berlin and re-establishing the Salzburg Festival. One of his cherished goals during this time was to make a definitive studio-based recording of "The Magic Flute." In preparation for that goal, Furtwaengler assembled a hand-picked cast, drilled them in his concept and led them in performance at Salzburg. One can imagine the reaction of the stiff old man when he discovered that his own producer, that scoundrel Legge had stealthily purloined both cast and production and, worse, had handed them over to that insolent puppy, Karajan, for this recording. Thereafter, Furtwaengler refused to work with Legge in the studio, although circumstances placed them together once more in the recording of an operatic masterpiece, the great "Tristan und Isolde" with Flagstad.

The cast on this recording is a very good one, although after all these years, they hardly seem adequate justification for a lifelong feud.

Anton Dermota, here caught at age 40, was of course the definitive Tamino. You might well say that his voice was not the most beautiful among recorded tenors, that he was short of breath and did not attempt the extended vocal runs to which we have become accustomed, but in spite of all that, he simply made Mozart's tenors come alive in a way that no other tenor has matched. Ludwig Weber is quite phenomenal as Sarastro. I can't bring to mind anyone who has bettered him in the part. Emmy Loose was one of the great character sopranos. Such was her art and skill that she made it seem easy and her reputation has suffered for it. George London as the Speaker and Sena Jurinac as the First Lady are luxury casting, indeed.

Wilma Lipp sings very nicely but the adjective that springs to my mind for her Queen of the Night is "pretty," not "powerful." Irmgard Seefried is lacking in horse power as Pamina. She sings well. Her characterization is sound but her personality does not swell to fill the stage with the essence of Pamina, as it should, ideally. Erich Kunz was an enormously popular and nearly ubiquitous performer in Vienna. I normally have no use whatsoever for the man. To my taste, he is not as awful on this recording as he might have been.

The rest of the cast is at the high level of competence one expects from Vienna State Opera regulars but not particularly memorable beyond that.

Karajan's approach to the opera is that of a very skilled practitioner of what is now regarded as the old school. Purely as a matter of personal taste I would gladly trade some of his sonority for a bit of joyousness.

This is a good and famous recording, well worth the time of anyone who acquires it. Five stars.

TRIVIAL PERSONAL NOTE: Having had the experience of meeting and exchanging idle chitchat with Jim Jones (he of the poison-laced Kool-Aid), Sarastro now strikes me as more than slightly sinister character. Maybe the Queen of the Night knew what she was doing.

4 out of 5 stars A pre-war Magic Flute in style, with lovely singing and dull sound.......2006-07-03

Before acknowledging the merits of this historic Magic Flute from Vienna, the Gramophone warned its readers of several drawbacks. The mono sound is close up, boxy, and dry (the Amazon reviewer calls it over-resonant, which makes me wonder if he bothered to play the record--these singers are barely an inch from the mike). The vienna Phil. strings are at times thin and edgy, a surprise but not unheard of in the rocky years just after WW II. There's no dialogue, which loses all the humor and much of the drama.

This, then, is a singer's Magic Flute with a famous conductor in his early prime. As such, we get a perfect portrait of traditional pre-war Mozart style, despite the fact that this was actually recorded in 1950. Tempos are relaxed, the tone is humane, humorous at times, light-hearted but with a serious emotional flavor between the two lovers. You have to adjust your ears at first; once you do, it's quite lovely.

A reviewer below points out that this same cast--Seefired and Dermota as Pamina and Tamino, Wilma Lipp as the Queen of the Night, and Erich Kunz as Papageno--was appearing at the State Opera uner Furtwangler, and now in retrospect we have air checks from two of those performances on labels like Melodram and Opera d'Oro. In 1996 EMI released one from a radio broadcast of the 1951 Salzburg Festival. Furtwangler energized his cast in a way that they aren't here in the studio, and he's also more overtly romantic and spiritual than Karajan, so it's worthwhile seeking those recordings out if you are a fan of Die Zauberflote in its pre-war Viennese guise.

5 out of 5 stars Severely Underrated! .......2003-04-29

There's nothing quite like the conducting of the young Herbert von Karajan. Listening to his early '50s Mozart recordings is like tasting fine vintage wine. I didn't care too much for this set at first, but it grew and grew on me, and now I can't do without it. I believe any Mozart collector should own at least two recordings of 'Magic Flute,' and this should definitely be one of them.

If classic singing is involved -- especially Mozart singing -- I could usually care less about sound. Unfortunately, the mono transfer greatly hinders this 1950 recording, which is to be expected. Sound-wise, it's no competition for, say, Bohm's later recording on DG, but Karajan's creative choices in conducting (and casting) this work totally make up for it. And the singing is miraculous.

Anton Dermota is an inspired Tamino, my favorite on disc. Overall he's probably tied with Wunderlich (for Bohm), who for years and years was my favorite and still is the "best sung" Tamino anywhere. It's all a matter of taste, but I think Dermota really understands this young, sometimes reluctant character, and the acting is quite effective.

Gundula Janowitz, Barbara Bonney, and Margaret Price all surpass Irmgard Seefried as Pamina (vocally), but none give such a tender reading of the text; in fact, some of Seefried's dramatic choices are better than all of these ladies' combined. Her brief "Die Wahrheit!" in Act One is brilliantly delivered, adding so much dimension to Pamina in only a few bars of music. Irmgard is never emotionally uninvolved, and makes this recording something extra special.

Wilma Lipp isn't much of a villain. No characterization in sight! But her coloratura is most impressive, and there's already a frightful misconception that the Queen is the most important character in the opera, so I'm not going to subtract any points from my rating. Lipp certainly isn't worse than Roberta Peters.

I adore Erich Kunz. For the most part he is a delightful Papageno, though his voice isn't quite as faultless as Walter Berry's (for Klemperer). His delivery of the lovely "Vogelfanger" aria is superb, as is his "Ein Madchen" in Act Two. His near suicide attempt (with the entry of the three boys) is unspeakably good on this recording -- I couldn't imagine anyone singing the "Eins, Zwei, Drei" but him.

Ludwig Weber steals this show completely -- and the gorgeous chorus work in "O Isis und Osiris" is overwhelming. Even in the poor mono sound, his voice is dark and luxurious. He's probably the best Sarastro ever, and his "In diesen heil'gen Hallen" is the highlight of this entire Karajan recording. Luscious.

The Three Ladies are fantastic on this recording -- best I've ever heard. Sena Jurinac is especially good as the 1st Lady, and the opening (after Tamino's "Zu Hilfe!") is easily the best version of the Introduction. The quintets, "Hm, Hm, Hm" and "Wie? Wie? Wie?", are also spectacular. The Three Boys are tied with Ludwig Weber for best performance on this recording -- they really sound like three boys, as opposed to three ladies, like on many other recordings.

Unfortunately there's no spoken dialogue here, but I think one listening will cure any inhibitions you might have. I do wish that some of these great characterizations could have been captured in the music-free segments. Oh well.

Though flawed by puny mono sound and lack of spoken dialogue, this is a luminous performance featuring virtuoso Mozartian singers and inspired conducting. A personal favorite.

4 out of 5 stars Furtwangler's cast in von Karajan's recording.......2003-01-21

I believe this was the recording that soured Furtwangler on Walter Legge once and for all (except for the legendary Tristan and the Mahler songs with FiDe). Furtwangler's cast at the Vienna opera was hired by Legge for Karajan's recording -- and both conductors were under contract to EMI.

Musical poltics and Vienna were made for each other!

The cast is terrific -- maybe the best ever -- and although the 'pirate' conducted by Furtwangler is better than what Karajan gives us, Karajan has the better sound, and it does sound like perfectly fine 50's mono to me.

I picked up the earlier incarnation on EMI, before the GRC repackaging, at a used shop in Manhattan for $... No regrets!

2 out of 5 stars Sound quality not of this time.......2002-11-03

The performance is fine, as far as it is possible to judge it regarding the poor quality of the recording. It may have been fine in the previous century, but even remastering didn't bring in anywhere near today's standards: zero dynamics, very dull, and yes, mono! Unless you 'need' it for your collection, buy a more recent recording.

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