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Mozart - Die Zauberflote (The Magic Flute) [HD DVD] | ![Mozart - Die Zauberflote (The Magic Flute) [HD DVD]](http://ecx.images-amazon.com/images/I/51PMeCOHHWL._SL160_.jpg)
| Directors: Sir Colin Davis, David McVicar Actors: Simon Keenlyside, Dorothea Roschmann, Diana Damrau, Thomas Allen, Franz-Josef Selig Studio: BBC / Opus Arte Category: DVD
List Price: $45.98 Buy New: $29.89 as of 9/7/2010 13:37 CDT details You Save: $16.09 (35%)
New (2) from $29.89
Seller: moviemars Rating: 18 reviews Sales Rank: 64774
Format: NTSC, Dolby, DTS Surround Sound, Subtitled Languages: English (Unknown), Dutch (Subtitled), English (Subtitled), French (Subtitled), Spanish (Subtitled), English (Original Language), German (Original Language) Rating: NR (Not Rated) Media: HD DVD Region: 0 Discs: 1 Aspect Ratio: 1.78:1 Running Time: 185 Minutes Shipping Weight (lbs): 0.2 Dimensions (in): 7.1 x 5.4 x 0.6
UPC: 809478050025 EAN: 0809478050025 ASIN: B000V78BOY
Theatrical Release Date: 2007 Release Date: October 30, 2007 Availability: Usually ships in 1-2 business days
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| Editorial Reviews:
Amazon.com It’s hard to find a version of Mozart’s Die Zauberflöte that’s as well sung as this 2003 Covent Garden production. Led by the eminent Mozartian, Sir Colin Davis, orchestra and singers present a warm, often intense vision of the opera, not as the fairy tale it’s often taken for, but as a human drama of the passage from misguided beliefs to mature knowledge of self. Diana Damrau is the Queen of the Night for our time, with show-stopping bravura singing that tosses off the score’s terrifying high notes with almost casual abandon. Her acting and her fright outfit never leave you in doubt that she’s the evil presence here, even when she’s pretending to be a good mom concerned about her daughter, Pamina. Dorothea Röschmann is superb, floating pianissimo notes to die for and singing with a beautifully rounded soprano allied to a dramatic sense that make her Ach, ich fuhl's so moving. Will Hartman is a virile Tamino, a bit heavier of voice than most of the lyric tenors who take the role, but singing well. Like most Tamino’s, he’s upstaged by Papageno, the bird-catcher who’s his sidekick. Baritone Simon Keenlyside offers the best-sung Papageno one could hope to hear, and while he’s funny in many of his more physical scenes, he replaces the usual clownish buffoon with an earth-bound Everyman. The noble Sarastro, the lovers’ guide to self-realization, is well sung by Franz-Josef Selig, whose ample bass easily encompasses the low Fs that make most basses sound strained. The smaller roles are done well, too. Ailish Tynan has a romp as Papagena; the evil Monostatos is done to vocal and acting perfection by Adrian Thompson, the Queen’s Three Ladies are well-matched and appropriately edgy, and the Temple Priests are convincingly sung and acted. This production of Die Zauberflöte is a dark one. Producer David McVicar and conductor Davis reject the relatively recent transformation of the opera into a Disney-like romp for kids. The comic element in the opera is there, but its philosophical underpinnings--humanity’s fitful progress to a higher plane – are paramount. There are still plenty of laughs with the fake dragon that pursues Tamino at the opera’s opening and Papageno’s funny business with a bird, among other chuckle-inducing scenes. But the production’s Stygian backgrounds make for an oppressive setting. When light enters, as in the pomp of Sarastro’s entry or the blazing yellow disc of the sun that conquers darkness, the opera’s meanings are crystal-clear. Most of the characters wear 18th Century outfits, to comic effect as Monostatos’ heavy makeup, lipsticked mouth, and elaborate wig. But there are occasional incongruities: Tamino’s smock, the Three Boys’ knit sweaters and short pants, and Papagana’s mangy fur coat, among others. They’re well intregrated into the staging so they don’t jar. Nor, aside from the occasional too-tight closeups, does the video direction. In the special features, Davis speaks of the opera’s tension between "lighthearted music and the seriousness of the story," and all elements of this production fuse those key aspects in a way that makes this Blu-ray disc a joy to hear and watch. --Dan Davis
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| Customer Reviews:
Showing reviews 1-5 of 18
Just OK May 30, 2010 Dr. Stephen N. Resnick The audio and video quality were both good, but the performers were lacking in charisma. The singing was fine and the orchestra was good but not great and the costumes were poor. The acting and staging were both disappointing and the overall experience was forgettable.
Very good production, not quite perfect March 19, 2010 Sol T. Kim This is one of the best Magic Flute performances out there. However, I feel like it could have been even better. So I'm giving it four stars.
First, the singers. Damrau is a top notch Queen of the Night. She gives us a dramatic and overbearing Queen of the Night here, someone who can be manacing even when she is on your side. I am not completely happy with this interpretation. In my opinion, in the first aria (Zotto), the Queen of the Night should be tender and vulnerable like a typical fairy queen in distress. By adding a lot of manace to her here, in my opion, Damrau undermines the dramatic surprise later when the Queen turns nasty in her second aria. I still think she is the best Queen alive, but I wish she didn't take it quite over the top.
I'll have to disagree with DeGeorge's quite excellent review here, I felt that Roschmann's Pamina was really weak. Her voice sounded thin to me and overall she seemed to be struggling to add her emotion to the pieces. Her lament aria and suicide aria did nothing for me in this rendition, and they are some of my favorites!
Selig's Sarasato was good. The problem I have is that I find Sarasato just a boring character. He's a bundle of abstract virtues and have very little human characteristic to related to. Mozart tried but couldn't quite get him to be a human. I personally haven't seen an exciting Sarasato and for this reason I don't think there can be an exciting Sarasato.
Keenlyside's Papageno was delightful and very convincing. He appears to have injured his left hand in the middle of performance (cramp? Not sure) but soldiers through until the end. It could be distracting if you notice it, but that has nothing to do with his top notch singing. Kudos to his professionalism. I found the costume to be a bit silly, personally, but it's not a big deal either way.
Hartmann was very good as Tamino. He seemed a bit tight and nervous in the beginning but loosens up later. I can't find any fault in his performance.
They chose to present Monostatos as a cartoony villan with excessive makeup. I prefer productions that give more sympathetic version of him. His aria was good but I wonder if the need to present him negatively affected the performance negatively; I've heard his aria rendered more beautifully.
As for the overall production, it followed the traditional reading of putting Sarasato in a entirely positive light while putting the Queen in the entirely negative one. I personally prefer productions that are more sympathetic to the Queen. I am not quite sure what they were trying to do with modern clothing/classical customes in this show. Certain characters are dressed in 1950's contemprary clothing, while main characters are dressed classically. They push this hard with Papagena in particular. It is not too distracting but I did not feel it added much either.
Overall, the production is well thought-out with little overt flaws. Singers are all good, with Damrau being excellent and Pamina being a bit weak. A great, but not perfect, production.
Magnificent in parts, lacking in others. January 20, 2010 Thomas E. Ascher (Bellingham, WA) 1 out of 1 found this review helpful
This is certainly worth having. Diana Damrau's Queen of the Night is the most magnificent, vocally and dramatically that I have seen. The blu-ray picture and sound are exquisite. Will Hartmann as Tamino and Dorothea Roschmann as Pamina are youthful, vibrant, have lovely voices and great chemistry together. Simon Keenlyside, however, is one of the weakest Papagenos I've seen. The role of Papageno, although a secondary lead, is the more important role in terms of sustaining interest throughout the opera, particularly in the second act. His is the comic, everyman role, and as such it requires superb timing and virtuousity to pull it off. He just doesn't have it and the opera suffers because of it. Ailish Tynan as Papagena misses on all fronts. She is supposed to be presented, initially, as an old hag. In this version she is presented from the beginning as a sleazy tart, so there is no point to Papageno's eventual discovery and delight. In summary, much to enjoy, worth having, but ultimately, a disappointment.
My 1st opera! September 19, 2009 DECKARD (USA) 1 out of 3 found this review helpful
This is the first opera I have ever listened to in it's entirety. Have never been a fan. But I happened to get the Opus Arte sampler and heard the selection from the Queen of the Night and was so moved I bought the blu-ray version of the entire opera. I am not disappointed. I love all the singing, the set and staging. The sound quality, which got me here in the first place, is stunning. Bluray is the newest hi-res reference sound and will hopefully accomplish what SACD and DVD-Audio didn't; mass market education and demand for hi-res, video and audio. I am looking froward to sharing with my daughters, 8 & 12. We'll see. Kudos to all involved.
Very good, but lacking the "magic" September 10, 2009 D. DEGEORGE (Ellicott City, MD USA) 13 out of 14 found this review helpful
Let nothing I say here imply that this is less than a first-class production of Zauberflöte, and it's not a bad way to start one's collection of operas on Blu-ray. The singers are all at least good, if not uniformly great. The following singers are excellent: Simon Keenlyside (Papageno) with a voice that is expressive, well-managed, and handsome in every way, not to mention that his acting is a thorough delight; Diana Damrau (Queen of the Night), manic and technically and dramatically brilliant; and Dorothea Röschmann (Pamina) with creamy tone and perfect technique. This is not a girlish princess, which is to say that the role is often sung with a lighter voice; but I cannot complain about a voice as luxuriant as this. Sometimes Tamino and Pamina are presented as characters just barely out of their teens, which can suit the freshness and innocence implied by their roles; however, this thirtyish-looking couple works fine, too, especially as it allows us to experience fuller voices. Röschmann probably looks rather young from seats in the theater, but the Blu-ray close-ups aren't very flattering. The Three Ladies are also among the most excellent singers in this performance. Choral work is very good, as would be expected in Britain.
This performance falls short of the best in several respects. The first weakness I observed was during the overture, which failed to build much excitement or sense of anticipation for this evening of magic & music. I have never wholly understood why Colin Davis is held in such high regard as a Mozart & Haydn conductor (his reputation as a Berlioz interpreter is better deserved in my opinion). "Fortune favors the bold" is a line in the libretto, which should have been heeded by Davis, who fails to ask much of the orchestra and doesn't get any more than asks for. Everything is elegant, safe, and in its place; and only rarely do things sound stodgy; but there is neither fire nor anything else particularly revelatory or affecting.
The sets and costumes are just OK; they do not detract (as in the stark & cartoonish Met production premiered in 2006); but they don't add much either, except for those worn by the Queen of the Night and Sarastro.
Will Hartmann is not especially well cast as Tamino--it would be nice if he looked more youthful; however, in the world of operatic tenors, one could do a lot worse; and I am being especially picky here, but I must say that his intonation falls a touch short of the ideal in that it is not 100% secure, and he often lands a bit sharp on upward leaps.
Franz-Josef Selig is convincing as Sarastro and has a voice that is rich throughout its range but especially impressive in the lower registers. At the risk of undermining my own credibility, I have to admit that I do not like the work of operatic basses very much; their bellowing is often wobbly & pitch-inaccurate. Once in a great while one runs across a bass who is fully in command of his instrument, but this is not one of those times. So that I don't malign all of bassdom, I'll mention that John Relyea and Bryn Terfel are excellent positive examples; unfortunately, both are bass-baritones rather than bassi profundi; and I have to admit that Selig's heft on the low notes is perfect for Sarastro.
Adrian Thompson is suitably snarly & nasty as Monostatos. I have heard the role sung much more pleasantly by others, more for its musical beauty than dramatic character; here, however, Thompson trades prettiness for loathsomeness. Of course by that reasoning, a Papageno should have been chosen with more vulnerability in his voice, rather than the strength we get from Keenlyside. All things considered, if I had to be absolutely consistent, I'd say go with Keenlyside's musicality rather than Thompson's theatricality; but I am not upset to have both approaches in the same opera. The inconsistency in casting philosophy may, however, help to account for the lack of a sense of unity in this performance; there is little chemistry among the cast.
Even though the Popageno-Papagena romance is nominally a side show next to the serious subject of "rescuing" Pamina, the former is the emotional center of the opera for me. The duet that starts off silly with the repetition of Popageno's and Papagena's names but then makes a turn into one of the most rapturous climaxes in all music. Productions can make a big deal of it or not and be dramatically true; but a great opportunity is lost if it is not played to the hilt, which, to change metaphors, means that the music has to be milked for all its considerable worth. It has to be allowed to breathe and reach its climax at full force with no rushing or glibness. This performance doesn't reach the height of the very best; but neither does it trivialize, even though the scene is played mostly for its comic value; and Keenlyside's & Ailish Tynan's rich voices provide an abundance of beauty and substance.
To sum up, this is an expert performance, with many fine moments, that runs just a bit too much like clockwork. One of the reviews of the standard DVD version of this production gets it right: "Flute, yes. Magic, no." Also among the reviews of the standard DVD, there is as of this writing a very accurate assessment of this production, which gives it two stars and is titled "Disappointing," Although I rate the disc a little more highly, I find myself almost completely in agreement with the detailed assessment there, one exception being that, as noted above, I thought the chorus was rather good. When looking at reviews of a Blu-ray disc, for which there is only a small sample of opinion, it behooves one to look at the more plentiful reviews available for the standard-DVD issue.
Finally, speaking of Blu-ray, this disc is technically fine, in 5.1 PCM audio, which is to say no matrixing or compression--each channel has at least the full quality of a CD. That is not to say that the miking and dynamic range are perfect, but they are quite good. With a large-screen monitor the sharp HD image puts one right onstage.
Showing reviews 1-5 of 18
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