Mozart's comic masterpiece is set in a Turkish palace and tells the exciting and amusing story of the 'escape from the harem'. In this acclaimed production from The Royal Opera by Elijah Moshinsky filmed in 1988 the Turkish atmosphere is created by Timothy O'Brien's imaginative set of garden and crumbling palace strikingly complemented by Sir Sidney Nolan's colourful front and backcloths. The Spanish nobleman Belmonte is ably sung by Deon van der Walt and his beloved Konstanze is sung by Inga Nielsen with both dramatic conviction and brilliant secure coloratura. The actor Oliver Tobias gives a sensuous and powerful performance in the speaking role of Pasha Selim and Lillian Watson is a charming Blonde.
In Die Zauberflöte, Mozart and his librettist Schikaneder brought off an extraordinary feat, uniting two seemingly unrelated theatrical genres--pantomime and straight play. The first is represented by the comic antics of the birdcatcher, Papageno, the second in a series of rituals through which a Prince and his lady pass in search of true love. This production from the Ludwigsburger Festspiele in 1992 in a minimalist staging by Axel Manthey with sets and costumes by him and Alexander Lintl, offers a clearly delineated path through a sophisticated and worldly plot that can be bewildering on first acquaintance. Claps of thunder herald evil in the presence of the Queen of the Night and Monostatos, while a white dove introduces Papageno and a larger one carries the three boys who lead the couple on their journey of enlightenment. Their departure in silhouette makes a touching finale to Act One. But no opera production in recent years seems to eschew some whim or trendy idea of the producer: here we have Sarastro's priests with shaved heads, the three boys dressed for a school sports day and a Papageno kitted out in knickerbockers who one fears might break into "I love to go a-wandering a knapsack on my back". Much more stylish are the Three Ladies, emissaries of the Queen of the Night, shapely figures in their striking royal blue and red dresses. The musical direction is in the safe hands of Wolfgang Gonnenwein who favours the occasional swift tempo as in the "March" to Act Two. The cast includes one exceptional singer, the soprano Ulrike Sonntag as Pamina, happily partnered by Deon Van Der Walt as Tamino. Thomas Mohr is the characterful Papageno and Andrea Frei as the Queen of the Night makes good the coloratura runs of her fiendishly difficult arias, though sounds less secure in her slow music. As Sarastro, Cornelius Hauptmann makes up for some wooden acting with his sonorous bass. One takes away from watching this production a renewed admiration for Mozart and his librettist for an opera that, in its mixture of spoken dialogue and musical numbers, anticipates by 150 years the musical shows of Rodgers and Hammerstein. --Adrian Edwards
Offenbach's operetta La Belle Hélene, which pokes fun at the Parisian upper class of a century and a half ago through tales of ancient Greece, requires a leap of imagination on behalf of today's audience that this production only partly succeeds in reconciling. On musical grounds we're on sure footing. Nikolaus Harnoncourt conducts the chorus and orchestra of the Zurich Opera House with his customary flair for precise and taut rhythms and an appreciation of the composer's wit and the good tunes that are a-plenty. His multi-national cast headed by Vesselina Kasarova as Helen of Troy and Deon van der Walt as her lover Paris are excellent and among the smaller parts there's a lively and stylish performance from Liliana Nichiteanus as Oreste. The video direction by Hartmut Schroder and the superb sound obtained from the relatively intimate Zurich Opera House, a delightful setting for this operetta, are further assets. The production alas is unenlightening and perpetrates an over-the-top style that seems to be synonymous with Offenbach. The backdrop, a pink concave awning is hideous. The costumes by designer Jean-Charles de Castelibajac are silly: Paris is dressed in lederhosen and looks a twerp, Calchac, the high priest wears a Ku Klux Klan hat and Helen at one point looks as though she'll take to absailing. Kasarova suggests the lure of Helen in her voice but a beauty she's not. So it's left to Harnoncourt who joins the company at the curtain call with a twinkle in his eye and a nifty side step and his superb orchestra to remind us what might have been. --Adrian Edwards
A performance of Donizetti's 'Linda Di Chamounix' from the Zurich Opera House.
From the Zurich Opera House September 1996 with the Chor des Opernhauses Zurich and Orchester der Oper Zurich conducted by Adam Fischer.
A performance of Gluck's 1774 opera which is based on Greek legend. Recorded live at the Zurich Opera House in 2001. William Christie conducts. Also a documentary 'Gluck - The Reformer' by Reiner E. Moritz. The psychological drama in a tense atmosphere of violated blood ties fears and traumas is underlined by Guth's use of huge masks and enclosed spaces.
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