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Posted October 1, 2010
It is an old fashioned zauberflote. Some fluid tempi altetnating with very heavy ones. Just moments to forget: ponderous begginning of overture, both finales and quintets. Fortunately dinamics are a bit atractive at other points inside those slow parts, like tha last part of the 3 boys numbers "act II finale". And the first Sarastro aria, well, played as it is here, is the most boring piece of music I ever listened to. Indeed, if you have trouble to sleep, listen to this part and forget your condition. However, although Bohm may be slow, too slow sometimes, he seems to know where to push accents at the right time. Period vfersions "the good ones, not Norrington"know that, too, but are more engaging. Orchestra plays with its customary lush sound. The choir has exemplary warmth and presence. As the solo parts, I cant understand why Walter Berry is so famous. He tries so hard to "steal the show", to put in front of you the comic side of Papageno that he forget the good singing. Several times he looses pitch, and as the part is not difficult to sing, it is a pity. Simeauneau's Tamino is pure delight: grace + strenght are not a "dicotomy-like" choice! Wilma Lipp's Queen of Night is a miracle: I never heard such a clarity. Pamina is sung with enough affection. Why Monostatos is sung like a gay????? He is chasing Pamina, after all! On the contrary, Sarastro is sung with impressive pressence. It is not a bad recording but there are several more interesting right there. Among those of that time, choose Fricsay's. It is more naturally paced.
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