Mozart: The Magic Flute [in English] Australian Opera (1986) [SUBS]
Музыка
Richard Bonynge, Sydney Elizabethan Orchestra
(Recorded 21st August, 1986, Sydney Opera House)
Sarastro - Donald Shanks
Tamino - Gran Wilson
Speaker - John Pringle
First Priest - Robin Donald
Second Priest - John Pringle
Queen of the Night - Christa Leahmann
Pamina - Yvonne Kenny
First Lady - Nicola Ferner-Waite
Second Lady - Patricia Price
Third Lady - Rosemary Gunn
Papageno - John Fulford
Papagena - Peta Blyth
Monostatos - Graeme Ewer
First Boy - Anthony Phipps
Second Boy - Andrew Wentzel
Third Boy - Cameron Phipps
First Armoured Man - Sergei Baigildin
Second Armoured Man - Geoffrey Crook
The production was by Göran Järvefelt. The stage designs and costumes were by Karl Friedrich Oberle. The English translation was by Adrian Mitchell.
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ACT 1:
0:00:00 - Introduction
0:01:11 - Overture
0:08:13 - No. 1: "O save me, O save me, for death is upon me!" (Introduction)
0:14:51 - No. 2: "My name is known throughout this land" (Aria)
0:21:54 - No. 3: "Enchanting picture, full of grace" (Aria)
0:26:33 - No. 4: "Be not afraid, my dearest son" (Recitative and Aria)
0:31:32 - No. 5: "Hm! Hm! Hm! Hm-hm-hm!" (Quintet)
0:38:14 - No. 6: "O look at me, my dearest dove!" (Trio)
0:43:29 - No. 7: "A manly heart is filled with beauty" (Duet)
0:47:02 - No. 8: "Here lies the road which you must take" (Finale)
0:50:52 - No. 8: "O stranger, I must ask of you" (Finale)
0:57:20 - No. 8: "How strongly falls your magic spell" (Finale)
1:00:08 - No. 8: "Stealthy footsteps, quick as light" (Finale)
1:05:16 - No. 8: "Sir, full of guilt I kneel to you" (Finale)
1:08:09 - No. 8: "You haughty youth, just come this way!" (Finale)
ACT 2:
1:11:56 - No. 9: March of the Priests
1:16:15 - No. 10: "O Isis and Osiris" (Aria and Chorus)
1:19:11 - No. 19: "And will we never meet again?" (Trio)
1:26:17 - No. 11: "Beware of women and their scheming" (Duet)
1:27:15 - No. 12: "Why, why, why have you sought this place of pain?" (Quintet)
1:32:17 - No. 13: "Love is common to all races" (Aria)
1:34:41 - No. 14: "The wrath of hell within my heart I'll cherish" (Aria)
1:39:27 - No. 15: "Within this holy temple" (Aria)
1:47:19 - No. 16: "Here we have come with warmest greetings" (Trio)
1:50:40 - No. 17: "Ah, I know that all is ended" (Aria)
1:56:05 - No. 18: "O Isis and Osiris, break the darkness" (Chorus)
2:00:10 - No. 20: "A wife to kiss or marry" (Aria)
2:06:43 - No. 21: "Now marching down the road of morning" (Finale)
2:12:40 - No. 21: "Those passing by these arduous roads" (Finale)
2:16:37 - No. 21: "Tamino mine! Oh, wondrous joy!" (Finale)
2:20:16 - No. 21: "We traveled through the fiery furnace" (Finale)
2:23:12 - No. 21: "Papagena! Papagena! Papagena!" (Finale)
2:29:23 - No. 21: "Pa-pa-pa"..."Pa-pa-pa" (Finale)
2:32:12 - No. 21: "With quiet tread and lowered voices" (Finale)
2:34:14 - No. 21: "The radiance of morning" (Finale)
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"Die Zauberflöte" ("The Magic Flute") is an opera in two acts by Wolfgang Amadeus Mozart, with a German libretto by Emanuel Schikaneder. It was first performed at the Theater auf der Wieden in Vienna on 30th September, 1791, just two months before the composer's premature death.
Пікірлер: 7
Best English translation of flute that i've heard so far.
Very nice! And the translation is singable and mostly faithful to the original German. Yvonne Kenny is a revelation. I had heard her voice in several fine recordings of various operas but never seen her acting before. Donald Shanks is always a treat, and the ensembles are consistently well balanced and effective, which is so essential to this piece. The Queen puts a bit too much lower-jaw-flutter into her vibrato, but almost all coloratura sopranos do.
Yvonne Kenny has an amazingly beautiful and vibrant voice. This and any other low soubrette parts, like Susanna in Figaro, are parts I hope that she would have eventually pursued.
Gran Wilson’s tenor is natural and unforced. Much as I remember it the first time I heard him in Washington Civic’s production of The Gypsy Baron, where he displayed amazing and numerous high Cs. Tamino doesn’t s allow for those kinds if vocal fireworks, which makes me wonder why he didn’t continue in those higher tessitura roles. Maybe he did and I just didn’t know about it.
@robertmwoodley1502
5 күн бұрын
One of the four Drottningholm inspired Mozart productions. Having been an OA subscriber for 50 years I wondered who Mr Wilson was. Back in 1986 OA, or Australian Opera as it was then was almost completely a repertoire company with local singers. Mr Wilson here is the only non-Australian I think. A once great company, the third busiest in the western world with up to 17 operas a year. Now reduced because of the young not understanding opera, basically. Like all companies finding it hard to attract audience without resorting to star drawing power, musicals and the usual potboilers. And Sydney needs a proper opera theatre still!
@TimothyJonSarris
4 күн бұрын
@@robertmwoodley1502 thank you 🙏 I found this very interesting 🤔 a history that I was unaware of in the theatrical world 🌎