Composer: Wolfgang Amadeus Mozart
Works: Die Zauberflöte – Opera in two acts (1791)
Performers: Anton Dermota (Tamino), Irmgard Seefreid (Pamina), Erich Kunz (Papageno), Wilma Lipp (Queen of the Night), Ludwig Weber (Sarastro), George London (Speaker), Sena Jurinac, Freidl Riegler & Else Schurhoff (The three ladies), Emmy Loose (Papagena), Peter Klein (Monostatos)
Recording: Recorded in the Brahmsaal, Vienna, 2, 3, 6-9, 13-16, 20-21/12/50 ADD MONO
Label: EMI
The late works of Wolfgang Amadeus Mozart, particularly Die Zauberflöte, encapsulate the composer’s remarkable synthesis of operatic form and Enlightenment ideals. Premiering just months before his untimely death in 1791, this opera stands as a testament to Mozart’s unparalleled ability to blend the whimsical with the profound, the comic with the serious. Herbert von Karajan’s recording, featuring a stellar cast and the Wiener Philharmoniker, not only captures this artistic duality but also elevates it through its meticulous interpretation and orchestration.
Karajan’s orchestra, the Wiener Philharmoniker, delivers a performance that is nothing short of magnificent. The strings’ warmth and precision are particularly noteworthy, as in the overture, where the richness of the ensemble sets an enchanting tone for the work. The woodwinds, often the harbingers of Mozart’s delicate textures, receive ample attention here; their interjections throughout the score are articulated with both clarity and expressiveness. The balance between the orchestra and singers has been deftly managed, allowing for moments like the Queen of the Night’s aria to soar above the orchestral tapestry without losing its dramatic impact. This recording’s sound quality, improved through recent remastering, reveals a clarity that enhances the listener’s experience, allowing the intricate interplay of musical lines to blossom.
The vocal performances are equally remarkable, showcasing artists at the peak of their powers. Irmgard Seefried’s Pamina is imbued with a lyrical sensitivity that captures her character’s emotional arc beautifully. Her duet with Anton Dermota’s Tamino, particularly in “Bei Männern, welche Liebe fühlen,” is a standout moment, characterized by an exquisite blend of voices that speaks to the intimate bond between the characters. Dermota’s tenor is bright and expressive, tackling both the lyrical lines and the more dramatic passages with aplomb. Wilma Lipp’s portrayal of the Queen of the Night is iconic; her coloratura passages are executed with precision and flair, particularly in the notorious “Der Hölle Rache,” where her vocal fireworks are matched by the orchestra’s thrilling support.
The interpretation choices made by Karajan and the cast reflect an understanding of the opera’s underlying themes of enlightenment and duality. The absence of dialogue, while potentially a point of contention for some purists, allows for a more streamlined experience that emphasizes the music’s narrative power. The effectiveness of this decision is evidenced in the seamless flow of the musical sections, which can feel disjointed in other recordings that include the spoken passages.
Given the historical context, this recording emerges from a tumultuous period in Vienna’s operatic landscape, where Karajan’s collaboration with Walter Legge faced considerable scrutiny. Nonetheless, their partnership yielded a definitive rendition of Die Zauberflöte that has stood the test of time. In comparison to other recordings, such as those featuring more contemporary artists or different conducting styles, Karajan’s interpretation balances tradition with innovation, showcasing the rich heritage of the Vienna Opera while breathing new life into Mozart’s score.
This recording of Die Zauberflöte remains a landmark in the operatic discography. With its remarkable cast, exceptional orchestral playing, and enhanced sound quality, it encapsulates not only the brilliance of Mozart’s composition but also the artistry of its performers. A celebration of both the whimsical and the profound, Karajan’s rendition deserves a place in the collection of any serious admirer of the operatic genre.
