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The Magic Flute: Opera Explained
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LENGTH1 hr and 10 mins
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RELEASE DATE10-26-12
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AUDIO FORMATS
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Program TypeAudiobook
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PUBLISHER
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Publisher's Summary
The Magic Flute almost defines a masterpiece, because it can be enjoyed on every level. It is a superb fairy story, complete with dragons, demons, a handsome prince, and a lovely maiden seriously in need of rescue; it is a political satire, social commentary, and psychological drama; it is full of tunes from the playful to the heart-stopping, jolly songs, and deeply spiritual outpourings. It is, in short, "Mozart" - and there is no greater compliment than that.
This production gives us a wonderful insight into possibly the most remarkable work ever written for the stage. Beginning with an enticing overview of Mozart’s astonishing output, David Timson then takes us through The Magic Flute with infectious pleasure at every turn of genius. From the delightfully comic Papageno "rudely trying to sing with his mouth full of padlock" to The Queen of the Night’s "Vengeance" aria, we enjoy the full spectrum of dramatic situations.
Download the accompanying reference guide.
©2002 Naxos AudioBooks (P)2002 Naxos AudioBooks
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What Members Say
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Die Falknerin 04-19-13Die Falknerin 04-19-13 Member Since 2008Interested in European history of all eras, art, antiques, and classic fiction.
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"The sublime and the ridiculous"
Die Zauberflöte is an intriguing work of art on so many levels. One can speculate about symbols, revel in virtuoso displays, delight in the costumes, and laugh at the absurd. It's a great first opera for children: they love Papageno's silly antics as much as his feathers. For all that, this might have been a great presentation, but it's terribly disappointing.
Once again there is entirely too much introduction: 23 minutes pass before Tamino enters, stage left. There's simply not enough time to waste on this, and most listeners will not need a pop culture rehash of "Mozart is a genius and here's why."
There is entirely too much digression into the irrelevant. For example, instead of letting the Queen of the Night's coloratura stand on its own, an irrelevant example of coloratura from Bellini is played.
There's no rhyme or reason to the way in which the characters and plot are introduced.
It's all over the place, and even David Timson's usual wonderful narration can't save it.1 of 1 people found this review helpful