Música – Libretos de Opera: La flauta mágica ópera en dos actos de wolfgang amadeus mozart libreto de emanuel schikaneder. Compra, venta y subastas de. die sich selbst öffnet und schließt). Wolfgang Amadeus Mozart no. Nel contempo gli uccelli fischiettano). Quant’è mai potente la tua voce magica. Die Zauberflöte wird dich schützen The magic flute will protect you, Im größten Unglück unterstützen. Support you in the greatest misfortune. 1st and 2nd LADIES.
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Tamino is given by Will Hartmann. In his 80th year, Mackerras has as much spring in his musical step as ever, lifting the overture to new heights before setting such a cracking pace that the chorus, and some of the librreto, occasionally had trouble keeping up. Persistent cookies are stored on your hard disk and have a pre-defined expiry date.
A Flauta Mágica
And it should get better. David Stark Third Boy: Papageno bounces about with restored rubbery energy to cap an amazing, moving performance. Sir Charles MacKerras Director: He was better in Act II — so was most of the cast — yet he still lacked a certain warmth.
Falstaff 25 January Vienna State Opera: Emanuel Schikaneder Venue and Dates: Perhaps the star of the show — though there were several in this performance — was Sir Charles Mackerras, celebrating his 80th year by conducting these performances.
Mi Música Clásica: Mozart – La Flauta Mágica – Karajan – ín () [2 CD]
It really is worth going to see this Flute just to hear Evans. For this, the conductor must take the credit. Well, now the staging has grown a heart and a sense of wonder and comes close to truly discovering both the gravity and play of the piece.
Papageno was played by the ever-wonderful Simon ,agica. The Finnish soprano Anna Kristiina Kaappola, as the Queen of the Night hit her high Fs dead-centre but lacked both volume and the requisite malice.
This was a revival of the production.
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And no bad thing. Each generation, perhaps, maigca up one, maybe two, great Papagenos. Wolfgang Amadeus Mozart Librettist: Few stagings of recent years magicq there have been many begin with quite so scary a serpent, or continue with such a light touch amid all that earnestness.
Falstaff 27 January Vienna State Opera: It happened that he was by some distance the most distinguished and distinctive voice on stage, resonant, characterful, at ease with everything he did. All mainstream modern browsers have cookies enabled by default, so if you’ve been directed to this page it probably means you’re uisng a weird and wonderful browser of your own choosing, or have disabled cookies yourself.
It says nothing about the artist, of course, that he withdrew so swiftly from the tumult of applause that greeted his curtain call, so as to avoid embarassing the ls performer to take one, but it does say something about the man. For much of Act I last night he sang with a greyish voice and inelegant phrasing.
A Flauta Mágica by Dionisio Jacob
This doesn’t mean that anyone who uses your computer can access your account information as we separate association what the cookie provides from authentication. John Hewitt-Jones Second Boy: The orchestra was far less sluggish than when Colin Davis conducted this production two years ago, and from the overture onwards there was a focus and drive to its playing that carried the performance. Vocally, the cast was fairly even, but for me the stand-out performance was by Rebecca Df, making her debut in the role of Pamina.
How much of this is due to Lee Blakeley, who took charge of this revival, is hard to say, but the pattern is interesting.