Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden

Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden
by Sir Colin Davis, David McVicar

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Movie Reviews of Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden

Movie Review: "Mozart is simply God"
Summary: 5 Stars

This production was filmed at the Royal Opera House, Convent Garden in January, 2003 and one of the most pleasing aspects of it is that the producer has achieved unity of music, text, and staging. As the conductor says, "you can be an old man like me or a little girl of seven..." and the 'Flute' will still enfold you in its trifold magic.

The designer, John Macfarlane chose an unusually dark Baroque setting--"When will this endless night be over?"--but there are flashes of brilliance, some of them paying homage to Ingmar Bergman's version of this opera, e.g. the scene in the Speaker of the Temple's study, the trials by water and fire, Pamina's attempted suicide, and Sarastro's final exit with the flute (although this Sarastro doesn't toss it gleefully into the air).

One of the most extraordinary aspects of this production is its Papageno. Simon Keenlyside is a nervy, cynical birdcatcher. He is not simple, so much as burned-out. This interpretation makes his attempted suicide seem very much in character, but I had trouble believing that he would live happily ever after with Ailish Tynan's brassy Papagena.

The Austrian bass Franz-Josef Selig is a portly, paternal Sarastro. The low Fs of "O Isis und Osiris" are no challenge to his dark voice, but he is less successful with the second great bass aria, "In diesen heilgen Hallen" which sounds a bit shouted and effortful. His speaking voice resonates with deep, mellow calm, and I'd almost rather hear him talk than sing.

The Queen of the Night, Diana Damrau will cause the hair on the back of your neck to rise up with her unearthly arias. She was voted "Opernwelt's" Young Singer of the Year in 1999 and I hope to hear more of her. She commanded the stage and the Night, as well as every difficult passage that Mozart wrote for her.

Will Hartmann as Tamino is a little pinched at top, but suitably noble. He is an excellent, believable prince. Dorothea Röschmann is his sturdily-sung Pamina. Usually her suicide attempt is more believable than Papageno's, but not in this production. She is more of a Ceres than a frightened, abducted Persephone.

Adrian Thomson's Monostatos and his cohorts wore period fright-perukes and lots of lipstick. Perfect! Their costumes and cavorting reminded me of the 'minuet scene' in "Fearless Vampire Killers."

Thomas Allen is a special treat as the Speaker of the Temple, although the gorgeous orrery almost steals the scene in his study.

Sir Colin's comment on the meaning of "Die Zauberflöte," "The struggle to attain perfection is where all value lies" also applies to productions of this opera. That is why I think you should experience both this conductor's version, as well as Ingmar Bergman's 1975 film.

I recently attended the most enchanting of 'Flutes' with sets designed by Maurice Sendak, and nothing will ever supercede Ingmar Bergman's production in my heart, but Sir Colin's 'Flute' is a close third.

Summary of Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden

SPECIAL FEATURES:
? Behind the Scenes
? Conductor Sir Colin Davis talks about Die Zauberflöte
? Illustrated Synopsis of the opera

The smaller roles are done well, too. Ailish Tynan has a romp as Papagena; the evil Monostatos is done to vocal and acting perfection by Adrian Thompson, the Queen?s Three Ladies are well-matched and appropriately edgy, and the Temple Priests are convincingly sung and acted. This production of Die Zauberflöte is a dark one. Producer David McVicar and conductor Davis reject the relatively recent transformation of the opera into a Disney-like romp for kids. The comic element in the opera is there, but its philosophical underpinnings--humanity?s fitful progress to a higher plane ? are paramount. There are still plenty of laughs with the fake dragon that pursues Tamino at the opera?s opening and Papageno?s funny business with a bird, among other chuckle-inducing scenes. But the production?s Stygian backgrounds make for an oppressive setting. When light enters, as in the pomp of Sarastro?s entry or the blazing yellow disc of the sun that conquers darkness, the opera?s meanings are crystal-clear. Most of the characters wear 18th Century outfits, to comic effect as Monostatos? heavy makeup, lipsticked mouth, and elaborate wig. But there are occasional incongruities: Tamino?s smock, the Three Boys? knit sweaters and short pants, and Papagana?s mangy fur coat, among others. They?re well intregrated into the staging so they don?t jar. Nor, aside from the occasional too-tight closeups, does the video direction. In the special features, Davis speaks of the opera?s tension between "lighthearted music and the seriousness of the story," and all elements of this production fuse those key aspects in a way that makes this DVD a joy to hear and watch. Dan Davis

Die Zauberflöte is an all-regions 2-disc set in 16:9 ratio. Sound options include Dolby Stereo and 5.1 Surround. Sung in German with subtitles in English and Spanish. Extras include an illustrated synopsis, a behind the scenes feature of the production, and Sir Colin Davis talking about Die Zauberflöte