Composer: Wolfgang Amadeus Mozart
Works: La Flûte enchantée pour trois cors de basset et timbales – The Magic Flute
Performers: Le Trio di Bassetto: Jean-Claude Veilhan, Éric Lorho, Jean-Louis Gauch; Michèle Claude (percussion)
Recording: Recorded in Paris on 23-25 February 1999
Label: K617 K617097 [62.35]
Mozart’s “Die Zauberflöte,” or “The Magic Flute,” stands as a pivotal work within the operatic canon, encapsulating the Enlightenment ideals of reason, enlightenment, and the triumph of virtue. Composed in 1791, shortly before the composer’s untimely death, the opera features a rich tapestry of musical styles, dramatic narrative, and profound philosophical undertones. The bold and imaginative concept of reinterpreting this monumental opera through the lens of three basset horns and percussion is intriguing; however, in practice, it proves to be a perplexing endeavor that lacks the operatic vitality and depth inherent in the original score.
The arrangement by Le Trio di Bassetto aims to capture the essence of Mozart’s orchestration, yet it falls short in execution. The basset horn, known for its warm and mellow timbre, is ideally suited for lyrical melodies, but here the instrumentation lacks the necessary harmonic support and color that the full orchestral palette provides. The trio’s performance frequently veers into monotony, with the sound often feeling thin and reedy, a stark contrast to the lushness of the original orchestration. The decision to include recitative, albeit in a generally overfast manner, diminishes the dramatic tension that is so crucial to the narrative flow of the opera. This attempt to convey the opera’s story through instrumental means ultimately strips it of its heart.
From a technical standpoint, while the players exhibit commendable skill, their interpretation choices often lead to a disjointed listening experience. The absence of the timpani, a key element in Mozart’s orchestration that provides both rhythmic drive and dramatic punctuation, is particularly egregious. The basset horns struggle to replicate the dynamic contrast and vigor that the original orchestral forces would readily provide. For instance, the famous Queen of the Night arias, with their dazzling coloratura, lack the fiery intensity that is crucial for conveying the character’s malevolence and complexity. Instead, the arrangement feels like a hollow echo of the original, devoid of its dramatic impact.
The sound quality and engineering of the recording also warrant scrutiny. While the clarity of the basset horns is commendable, the overall mix does not compensate for the absence of a fuller orchestral backdrop. The percussion, albeit played with precision, does not sufficiently engage with the melodic lines, leading to a disconcerting imbalance. This sonic isolation detracts from the immersion that a well-produced opera recording typically offers, leaving the listener yearning for the richness of the complete orchestral experience.
Those who appreciate the basset horn may find this rendition a novel curiosity, but it ultimately lacks the enchantment that “La Flûte enchantée” traditionally evokes. The ambitious vision of rendering Mozart’s work for a minimalist ensemble does not translate into a successful auditory experience. For anyone wishing to explore the depths of this remarkable opera, the original recording remains the definitive choice, securing its place as a timeless masterpiece in the operatic repertoire.
