Mozart

Die Zauberflöte

Jurinac, Oncina, Christoff, Taddei, Clabassi; Gui
Napoli, 1956

Regular price $17.95
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Die Zauberflöte

Teatro San Carlo in Naples is hardly the theater you would associate with Mozart, but on the occasion of his 200th birthday they pulled out all the stops in this lyrical performance of Die Zauberflöte, sung in Italian. Sena Jurinac brings a fullness of tone that you rarely hear in a Pamina (especially these days), which goes a long way in highlighting the character's courage that ultimately gets her an entry into the temple. Juan Oncina brings a heroic sweetness to the role of Tamino. Boris Christoff manages to tone down the overwrought histrionics he was so known for, and delivers an elegant Sarastro for the ages. If Giuseppe Taddei's talents are slightly wasted on Papageno's music, he makes up for it by injecting spirit and whimsy. Conductor Vittorio Gui brings insightful leadership to the proceedings. I should note that the sound leaves a lot to be desired. There is a good deal of hiss and some ghosting.

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David R.✓ Top Reviewer

United States

Overall rating

Excellent Performance in Boxy Sound

Let's say it up front: the sound on this performance is mediocre and boxy. It is pitched correctly and ones' ears adjust. At least the source tape was complete and we do get the entire performance with all the dialogue and music intact.Having said all that, I would urge Magic Flute lovers and fans of these singers to acquire this recording. Flute goes very well in Italian. Jurinac is a predictably lovely Pamina, her aria a highlight of the show. Coertse was probably a better Queen than we can tell here. "Der Holle Rache" goes very well, but she's a little too far upstage for her first aria so she makes less of an impact there. Oncina is a noble Tamino, Taddei a delightful Papageno (an audience favorite as well), and Christoff a dignified, restrained Sarastro. The other singers are all very good and contribute positively to the performance. Gui proves as good in Mozart as he was in Rossini.A recording for the connoisseur then, but very enjoyable all the same. At the very least it documents singers in roles they never got to record in the studio. And it's always fun to hear an opera sung in a different language from that in which it was written.
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