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Wolfgang Amadeus
MOZART (1756-1791) Die Zauberflöte (für Kinder)
Pamina,
Ileana Contrubas (sop); Tamino, Peter Schreier (ten); Papageno,
Christian Boesch (bar); Sarastro, Kurt Rydl (bass); Queen
of the Night, Zdislawa Donat
(sop); Papagena, Gudrun Sieber, (sop); Monostatos, Horst Hiestermann (ten)
Konzertvereinigung Wiener Staatsopernchor
Vienna Philharmonic Orchestra/James Levine
Presented by Christian Boesch and Jean-Pierre Ponnelle
rec. live, 26 August 1982, Felsenreitschule, Salzburg
LPCM Stereo
Format DVD 9, Region code 0. TDK DVWW-OPMFC [106:00]
This
is a production of Die Zauberflöte aimed specifically
at children, and performed before an audience of same, all
in their Sunday best. The seed for this recording was sown
in 1978 with Jean-Pierre Ponnelle’s renowned production at
the Salzburg Festival. This production was performed over
an unprecedented nine consecutive festivals, and at the third
an extra matinee was organised at which adults were only
admitted if accompanied by at least two children under the
age of fourteen. This was a huge success, and has had its
imitators since.
Basically,
the story is narrated, illustrated and brought to life in
all kinds of ways by Papageno, played with irrepressible
humour and energy by Christian Boesch. The director, Jean-Pierre
Ponnelle, appears regularly as the stereotypical authority
figure, correcting the foolish Papageno, showing everyone
what should really be going on when things threaten to go
off the rails, or asking questions when Papageno starts taking
the children’s foreknowledge for granted. The cast is a very
strong one, with a slightly camp looking Tamino sung by Peter
Schreier on top form, a suitably vulnerable looking Pamina
in Ileana Cotrubas, an impressive Sorastro in Kurt Rydl,
and other famous names such as Edda Moser (First Lady).
There
is certainly no compromise when it comes to costume, and
the sets are fascinating – adding to the magical quality
and often to the good humour of the whole thing. The camerawork
is that of Austrian television, and is very good indeed,
with plenty of variety in perspective and covering all the
significant action and expressive content in detail.
As
far as musical content goes this amounts to a ‘highlights’ production,
with a grand total of five arias and seven ensemble pieces.
The entertainment is supplemented with little educational
narrations on ‘what is a bass aria?’ and the like, and some
lovely and funny touches, such as improbable creaking when
the ‘old crone’ sits down next to Papageno. The ‘drei knaben’ -
boy soloists from the Tölzer Knabenchores - appear as three
little bewigged Mozarts. We also see James Levine playing
the celesta in the orchestral pit which is a nice little
bonus, as are the glimpses of the normally formal Wiener
Philharmoniker in summer mufti.
Just
looking at the audience, 1982 seems like another world now,
and for many English speakers Germany - by which I mean Austria
of course - will always be ‘another country’. This is very
much a German language production, and I can imagine the
patience of most English-speaking children being pushed to
the limit quite quickly on having to follow great swathes
of text translated into subtitles – no matter how big the
typeface. I would have tried it out on my little daughter,
but aged 5 I’m afraid the great story of love would soon
be distracted by My Little Pony. This would certainly be
an excellent study aid for anyone working on this piece for
their GCSE or ‘A’ Level exams in the U.K. however, with the
story given in a memorable and digestible way. The clarity
of diction means it would also be a terrific supplement to
any German language course. As entertainment in its own right
it rightly deflates any stuffed shirts which might protest
at such a treatment of Grand Opera. Mozart will of course
be forever young; his music timeless, and there cannot be
that many operas which thrive on such an adaptation.
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