Rating: 
Summary: Wonderful story-telling
Review: P. Craig Russell's drawing style seems especially apt for stories of enchanted lands and beings. His lines are light and airy, and he sets a mood nicely with color. In other words, he is ideally suited to illustrate this story.He does a delightful job of it, too. He amplifies all of the characters theatrically beyond the believable, and has one small advantage over true opera - he is never at the mercy of the set designers, costumers, or other effects. I am very glad to see this classic of western culture (and the others coming soon) made available in this format. I confess, I have not fully acquired the taste for opera, or the ability to derive the story from the way it is sung. I do, however, want to know at least a bit of the story, and this is a very digestible form. Russell's drawing makes it more than digestible, it's a real confection. I also appreciate the fact that Russell has adapted the story, and not created a new one from fragments of the classic. Opera buffs - I hope you can accept this for what it is. One way to look at this is opera appreciation on training wheels, a painless entry into part of the operatic art. It's also a way to spread some knowledge of this classic across a generation that might not have been exposed to the story otherwise - certainly a good thing. If nothing else, it's a well-drawn comic by a very capable artist. It's that "else" that makes this comic stand out. I'm looking forward to the next Russell operas. (This reviews the book without the CD.)
Rating:
Summary: Mozart's Masonic Opera
Review: Symbols of Freemasonry abound in this sublime opera which has intrigued and fascinated freemasons and music lovers. This book and two compact discs present the ideal opportunity to study and enjoy this remarkable work. Decide for yourself whether it is a charming tale or the secrets of freemasonry exposed
Rating:
Summary: Fantastic package for opera beginners and aficionados
Review: The Black Dog Opera Library series are beautifully packaged and way underpriced. They each contain 2 CDs of the complete opera in the inside covers of a compact hardcover book whcih contains photos and commentary, as well as an annotated libretto in the original language and English translation, referenced to the CD, and notes and photos of the main performers and conductor. The performances are usually classic ones and though not necessarily recorded in the digital age they all sound gorgeous. I have only been able to find 4 (Magic Flute, Aida, La Boheme, and Carmen) and wish there were more. The only flaws in my opinion are that there is no information regarding the date or location of the performances nor is there a complete cast listing
Rating:
Summary: A Good Introduction To Opera, Outstanding Recording
Review: The Black Dog Opera Library Series had outdone themselves once again. In this 1972 recording of Mozart's last opera, we are treated to a fine performance by fine singers, a fully illustrated book with liner notes and commentary, as well as information useful in biographies on the composer and his time. Mozart was close to his death bed at the time he composed The Magid Flute. He made an opera that could be enjoyed at many levels. At one level, it is a comic, brilliant fairy tale for children, at another level, it is deeply symbolic and layed with Masonic ideals of universal brotherhood and love. Mozart and his librettist were both Freemasons, a religous "sect" that was under hot water in 18th century Vienna for its pagan origins and its advocation of ideas of the Enlightenment. The story is about Tamino, a prince who is lost in a strange land (originally, a mystic Egypt), who is rescued from a serpent by three mysterious women and promised the hand of the daughter of the Queen of the Night if he saves her from the wizard Sarastro. Together with the help of the comic bird-catcher, Papageno, he sets out on his adventure. But halfway through the opera, he discovers that he has been deceived. The Queen of the Night is the true villain and Sarastro is really a holy man. After many trials, the forces of evil are defeated and the opera ends blissfully with a victory. Musically and dramatically, it is Mozart's greatest opera. From the striking Overture to the use of dark strings, trumpet and soaring flute passages, the individual arias which express intense emotions to the neverending theme that good triumphs over evil, the Magic Flute stands out as a great opera to begin with for newcomers and a favorite for old time opera fans. In this recording, conductor Wolfgang Sawallisch leads the Bavarian State Orchestra in a highly effective, thoroughly dramatic and sentimental, full interpretation of Mozart's score. Tenor Peter Schreir as Tamino is exceptional, passionate in his aria "Dies Bildnis" (This portrait), and again as he plays his flute in "Wie Stark ist Nicht dein Zauberton" (How powerful is your music, magic flute), his individual lines in the ensembles and his duet with Pamina as they undergo the final trial of fire. Annelise Rothenberger, a sublime German lyric soprano, is moving in her portrayal of Pamina. She has her moments in this recording. Note how her high, melodic voice seems to come from nowhere as she confronts Sarastro and Tamino for the first time "Herr! Ich bin zwar Verbrecherin ! (Sir! I am the transgressor). Her aria "Ach Ich Fuhls" (O, I feel that happy days have passed) is the finest interpretation, full of pathos and a kind of melancholic madness, as well as her lines in her suicide attempt, finally, she is sublime as a strong woman ready to face trials with Tamino, especially striking when she sings the line "Tamino!". Kurt Moll's Sarastro is without question the best. His voice is suited for God. So divine and sonorous and full of grace, his voice is especially noticeable in the aria "O Isis and Osiris " and "In deisen Heilen Hallen"( In these holy halls). Finally, and not to be missed, is Edda Moser's incredible interpretation of the Queen of the Night. You have not heard the true Queen of the Night, until you've heard Edda Moser. She has a Wagnerian intensity and neurosis in her lines, apt and effective for the role of a Queen bent on deception and the murder of her rival, Sarastro. Her aria "O Zittre Nicht, Mein Lieber Son" (O tremble not, beloved son" is full of lyric dramatic passages and coloratura at the end. The vengeance aria "Der Holle Rache Kocht Meine Herzen "(Hell's Anger Burns Within My Heart) is full of fire. The way she attacks the dramatic, powerful lines is out of this world and the high F's she escalates are unsurpassed.
Rating:
Summary: Great book, great accompanying CD!
Review: The book summarizes the Magic Flute very well (suitable for children). The CD has highlights (complete arias) from the opera.
Here is the track listing:
1. Overture ............ 2. Der Vogerlfanger bin ich ja
3. Dies Bildnis ........ 4. Hm hm hm hm!
5. Bei Mannern ......... 6. Wie stark ist nicht dein Zauberton
7. Schnelle Fusse ...... 8. Marsch der Priester
9. O Isis und Osiris ... 10. Die Holle Rache
11. Ach, ich fuhl's .... 12. Ein Madchen oder Weibchen
13. Tamino mein ........ 14. Papagena!
15. Pa-pa-papagena ..... 16. Die Strahlen der Sonne
Highly recommended!!!
Rating:
Summary: You've Tried The Rest, Now Try The Best
Review: The Magic Flute (Die Zauberflute in German) was Mozart's final opera. It was his favorite and undoubtedly his greatest achievement. When he was in his deathbed, it was said that Mozart requested to hear the score to the Magic Flute one last time. Mozart was a Freemason, although he had been raised as a Catholic and enjoyed sponsorship by the Archbishop of Salzburg for some time. His conversion; into what was a religious and philosophical organization that praised the Englightenment and mystic Egyptian/Zoroastrian beliefs, effected and influenced his musical composition. He had already written music for a Masonic Funeral and Freemasonry deeply influenced the Requiem in D Minor. This recording is out of print in cd form and was probably an LP in the 70's. In 1972, Walter Sawallisch, the Bavarian State Orchestra and the talents of Peter Schreir (Tamino), Annelise Rothenberger (Pamina), Walter Berry (Papageno), Kurt Moll (Sarastro) and Edda Moser (The Queen of the Night) put together what is the definitive, the greatest, the most perfect, the one and only Magic Flute. If you've heard the rest, now try the best. Contrary to the negative comments of the other reviewers, the Black Dog Opera Library has done an excellent job of making this opera accessible, a book full of great illustrations and liner notes on the singers, Mozart and his era. Yes, the Magic Flute has been unjustly considered and theatrically treated as a children's opera, a fairy tale with no real substance, a great work sugar coated into something like Broadway musical or cartoon. Singspiel was great opera (Mozart had tried the form previously with Abduction From The Seraglio) but unlike grand opera, it was more accessible to the ordinary people, to folks who loved catchy tunes they could whistle in the streets on organ grinders or for children to sing at play. It was a people's opera, not a stuffy, overly pompous piece of work. In a way, it was like Broadway or cartoons, simply because people could have fun at the opera. (For an example, take a look at the film Amadeus, in which Mozart is commissioned to write the Magic Flute for a more folk-oriented, Vienna lower class who drank beer and played games on stage while watching the opera, in a nearly circus like environment). Discreetly embellished with Masonic symbolism (the three opening bombastic chords in the Overture, the Three Ladies, the Three Young Boys in the Balloon, the Egyptian rituals of purification, the choruses and the Zoroastrian figure of Sarastro) are all examples. Allegorically, it was the struggle between the ruling court of Empress Maria Teresa and the supression of Masonry in Austria. This book clearly states this fact. Thus, the powerfully evil Queen of the Night, whose arias are icy coloratura, represents Maria Teresa, Pamina represents the beautiful and faithful Austria, Tamino evidently Emperor Franz Joseph or simply any good person who is beckoned by a noble human cause and finally, Papageno is the earthy, common folk who is no less a great one. This recording is absolutely the best. Peter Schreir is a superlative tenor di grazie, highlights being his aria Dies Bildnis and his scenes with Pamina, Annelise Rothenberger a lyric soprano who reaches perfection in her aria "Ach Ich Fuhls" and her union with Tamino in the trial of fire. Kurt Moll's Sarastro is poignant, spiritual, a voice suited for God, whose low F's are contrasted by the sinister, neurotic, tempestuous raging scales of Edda Moser's Queen of the Night, who reaches high F's. The score to the opera is spiritual. Nothing Mozart ever wrote could be more spiritual, full of majesty, obscurity, joy, awe and power. Five stars for this excellent recording.
Rating:
Summary: Mini-sized guide laden with maxi-helpful information
Review: The Opera Journeys Mini Guide Series is just wonderful; it's like a "Cliff Note" of the opera, and extremely informative and educational. I particularly like the size; these guides are not cumbersome and fit right into my shirt pocket. The ladies will find sufficient room in their pocketbooks. The story narrative with the music examples is excellent. I prefer it to a libretto; indeed, it's a much easier way to follow the essence of the story. The essay is magnificent; very well written, not pedantic, and extremely insightful and comprehensible. I congratulate Burton Fisher for a job very well done and Amazon for making these handy, information-laden booklets available. The Opera Journeys Mini Guide Series is a wonderful contribution to opera education and opera appreciation. My tip: acquire the entire collection because you will be in easy reach of superbly presented opera guides consisting of story analysis, principal characters in the opera, story narrative with music highlights, background, analysis, and commentary. Heinz Dinter, Ph.D.
Rating:
Summary: Rare, Legendary Recording... but throw away the book.
Review: The re-release of the legendary 1972 recording of Die Zauberflöte, conducted by Wolfgang Sawallisch, is a great blessing to all who know and love this great work. Edda Moser's interpretation of the Queen of the Night is justly celebrated, achieving not only transcendently perfect delivery, but also a chilling portrait of pure evil. All of the other cast members are excellent. The spoken role of Papageno is particularly striking, sounding sufficiently pungent to remind us that the role was originally played by Emanuel Schickaneder himself. The tempi are, for the most part remarkably well-chosen. In addition, the Masonic gravity of the subject matter is constantly respected. The chorus of the armed men is properly alarming, the cantus firmus stridently insistent above the counterpoint of the strings. Even more uncommon is the treatment of the secondary scenes of Act II, especially the chorus Welche Wonne, in which the evocation of the candidate's future "new life" is infused with the trepidation inevitably attendant upon any trial of life and death. All too often, this work, which is gravely serious in its intent, is presented as a fairy tale. This recording successfully conveys the philosophical context, and does justice to Mozart's attachment to Masonry. [The only flaw which I could detect is the inclusion of a very questionable musical fragment, inserted into Act II, Scene 11 ("Pamina, wo bist du?"). I could locate no reference to this anywhere in my extensive library on the subject, and can only speculate that it might be some unacknowledged retention from one of the infamous "reworkings" of the opera which occurred after Mozart's death....At any rate, it requires an explanation....] In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work. An irate Mozartian
Rating:
Summary: Excellent recording (out of print), but idiotic book.
Review: The re-release of the legendary 1972 recording of Die Zauberflote, conducted by Wolfgang Sawallisch, is a great blessing to all who know and love this great work. Edda Moser's interpretation of the Queen of the Night is justly celebrated, achieving not only transcendently perfect delivery, but also a chilling portrait of pure evil. All of the other cast members are excellent. The spoken role of Papageno is particularly striking, sounding sufficiently pungent to remind us that the role was originally played by Emanuel Schickaneder himself. The tempi are, for the most part remarkably well-chosen. In addition, the Masonic gravity of the subject matter is constantly respected. The chorus of the armed men is properly alarming, the cantus firmus stridently insistent above the counterpoint of the strings. Even more uncommon is the treatment of the secondary scenes of Act II, especially the chorus Welche Wonne, in which the evocation of the candidate's future "new life" is infused with the trepidation inevitably attendant upon any trial of life and death. All too often, this work, which is gravely serious in its intent, is presented as a fairy tale. This recording successfully conveys the philosophical context, and does justice to Mozart's attachment to Masonry. [The only flaw which I could detect is the inclusion of a very questionable musical fragment, inserted into Act II, Scene 11 {"Pamina, wo bist du?"). I could locate no reference to this anywhere in my extensive library on the subject, and can only speculate that it might be some unacknowledged retention from one of the infamous "reworkings" of the opera which occurred after Mozart's death....At any rate, it requires an explanation....] In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work. An irate Mozartian
Rating:
Summary: Rare, Legendary Recording... but throw away the book.
Review: The re-release of the legendary 1972 recording of Die Zauberflöte, conducted by Wolfgang Sawallisch, is a great blessing to all who know and love this great work. Edda Moser's interpretation of the Queen of the Night is justly celebrated, achieving not only transcendently perfect delivery, but also a chilling portrait of pure evil. All of the other cast members are excellent. The spoken role of Papageno is particularly striking, sounding sufficiently pungent to remind us that the role was originally played by Emanuel Schickaneder himself. The tempi are, for the most part remarkably well-chosen. In addition, the Masonic gravity of the subject matter is constantly respected. The chorus of the armed men is properly alarming, the cantus firmus stridently insistent above the counterpoint of the strings. Even more uncommon is the treatment of the secondary scenes of Act II, especially the chorus Welche Wonne, in which the evocation of the candidate's future "new life" is infused with the trepidation inevitably attendant upon any trial of life and death. All too often, this work, which is gravely serious in its intent, is presented as a fairy tale. This recording successfully conveys the philosophical context, and does justice to Mozart's attachment to Masonry. [The only flaw which I could detect is the inclusion of a very questionable musical fragment, inserted into Act II, Scene 11 ("Pamina, wo bist du?"). I could locate no reference to this anywhere in my extensive library on the subject, and can only speculate that it might be some unacknowledged retention from one of the infamous "reworkings" of the opera which occurred after Mozart's death....At any rate, it requires an explanation....] In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work. An irate Mozartian
|
