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Eugen Jochum Hilde Gueden Ernst Haefliger Martti Talvela Catherine Gayer Sieglinde Wagner Vogel Nagano Walter Dicks Werner Götz Bella Jasper Hans Beirer Ernst Krukowski Sellner Kühner Stark Heil Glück Stille Wolfgang Amadeus Mozart Emanuel Schikaneder Deutsche Oper Berlin 1791 1963 1966
Eugen Jochum, Orchester der Deutschen Oper Berlin (Recorded 24th October, 1966, Nissay Theatre, Tokyo) Tamino — Ernst Haefliger Papageno — Manfred Röhrl Pamina — Hilde Gueden Queen of the Night — Catherine Gayer Sarastro — Martti Talvela First lady — Annabelle Bernard Second lady — Gitta Mikes Third lady — Sieglinde Wagner Monostatos — Karl-Ernst Merker First boy — Barbara Vogel Second boy — Helga Wisniewska Third boy — Yonako Nagano Speaker — Gerd Feldhoff First priest — Walter Dicks Second priest — Werner Götz Papagena — Bella Jasper First armoured man — Hans Beirer Second armoured man — Ernst Krukowski The production was by Rudolf Sellner. / The Deutsche Oper Berlin first visited Tokyo in 1963, giving performances of Fidelio, Figaro, Tristan, and Wozzeck. This performance of Die Zauberflöte was given during the company’s second visit in 1966, when the other operas performed were La Traviata, Der fliegende Holländer, Die Entführung, and Elegie für junge Liebende. / ACT 1: 0:00:00 — Ouvertüre 0:07:13 — No. 1: “Zu Hilfe! Zu Hilfe! sonst bin ich verloren!” (Introduction) 0:14:08 — No. 2: “Der Vogelfänger bin ich ja” (Aria) 0:20:03 — No. 3: “Dies Bildnis ist bezaubernd schön” (Aria) 0:25:18 — No. 4: “O zitt’re nicht, mein lieber Sohn” (Recitative and Aria) 0:30:08 — No. 5: “Hm! Hm! Hm! Hm Hm Hm!” (Quintet) 0:36:38 — No. 6: “Du feines Täubchen, nur herein!” (Trio) 0:40:31 — No. 7: “Bei Männern, welche Liebe fühlen” (Duet) 0:43:43 — No. 8: “Zum Ziele führt dich diese Bahn” (Finale) 0:45:19 — No. 8: “Die Weisheitslehre dieser Knaben” (Finale) 0:47:14 — No. 8: “Wo willst du kühner Fremdling hin?” (Finale) 0:54:07 — No. 8: “Wie stark ist nicht dein Zauberton” (Finale) 0:56:58 — No. 8: “Schnelle Füße, rascher Mut!” (Finale) 1:01:45 — No. 8: “Herr, ich bin zwar Verbrecherin” (Finale) 1:05:11 — No. 8: “Nun, stolzer Jüngling; nur hierher!” (Finale) ACT 2: 1:08:47 — No. 9: Marsch der Priester 1:12:06 — No. 10: “O Isis und Osiris” (Aria and Chorus) 1:17:03 — No. 11: “Bewahret euch vor Weibertücken” (Duet) 1:18:08 — No. 12: “Wie? Wie? Wie? Ihr an diesem Schreckensort?” (Quintet) 1:21:29 — No. 13: “Alles fühlt der Liebe Freuden” (Aria) 1:23:00 — No. 14: “Der Hölle Rache kocht in meinem Herzen” (Aria) 1:26:45 — No. 15: “In diesen heil’gen Hallen” (Aria) 1:33:06 — No. 16: “Seid uns zum zweiten Mal willkommen” (Trio) 1:35:39 — No. 17: “Ach, ich fühl’s, es ist verschwunden!” (Aria) 1:39:59 — No. 18: “O Isis und Osiris” (Chorus) 1:43:42 — No. 19: “Soll ich dich, Teurer, nicht mehr seh’n?” (Trio) 1:48:05 — No. 20: “Ein Mädchen oder Weibchen” (Aria) 1:53:27 — No. 21: “Bald prangt, den Morgen zu verkünden” (Finale) 1:59:27 — No. 21: “Der, welcher wandert diese Straße” (Finale) 2:04:15 — No. 21: “Tamino mein! O welch ein Glück!” (Finale) 2:07:49 — No. 21: “Wir wandelten durch Feuergluten” (Finale) 2:11:27 — No. 21: “Papagena! Papagena! Papagena!” (Finale) 2:16:49 — No. 21: “Pa-pa-pa”...”Pa-pa-pa” (Finale) 2:19:27 — No. 21: “Nur stille! Stille! Stille!” (Finale) 2:21:21 — No. 21: “Die Strahlen der Sonne” (Finale) / The Magic Flute (German: Die Zauberflöte) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work was first performed at the Freihaus-Theater auf der Wieden in Vienna on 30th September, 1791, just two months before the composer's premature death.
Wolfgang Amadeus Mozart Tolaš Veselý Ivanov Vančura Pelikán Přibyl Jalovcová Emanuel Schikaneder 1791 2004 2007
Die Zauberflöte (The Magic Flute) Act 2: Duet - Papageno,Papagena "Pa-pa-pa-pa-Papagena!" Wolfgang Amadeus Mozart FF. X. Šalda Theater Conductor: Martin Doubravský Baritone: Jakub Tolaš Soprano: Renáta Vítová 21. 5. 2004 1st premiere; (2nd premiere 22. 5. 2004) 3. 4. 2007 Dernière Producers Translation:Václav Maidl (mluv.prózy); Conductor:Martin Doubravský; Stage Director:Roman Meluzín; Assistant Director:Alena Žaloudková; Set Designer:Václav Vohlídal; Costume Designer:Ivana Brádková; Chorus Master:Martin Veselý; Musical Collaboration:Olga Drybas; Musical Collaboration:Tatiana Drybas; Musical Collaboration:Jiřina Permanová; Musical Collaboration:Elena Nagyová; Motion Cooperation:Vjačeslav Ivanov Cast Sarastro:Tomáš Jindra (alternation); ~ Pavel Vančura (alternation); Tamino:Václav Lemberk (alternation); ~ Miloslav Pelikán (alternation); Kněz, Mluvčí:Jiří Přibyl (alternation); ~ Jiří Schoenbauer (alternation); Královna noci:Ivana Koupilová (alternation); ~ Lucie Mlynářová (alternation); Pamina, její dcera:Věra Poláchová (alternation); ~ Hana Šrubařová (alternation); První dáma:Jaroslava Schillerová (alternation); ~ Liana Somičová (alternation); Druhá dáma:Blanka Černá (alternation); ~ Gabriela Kopperová (alternation); Třetí dáma:Kateřina Jalovcová (alternation); ~ Markéta Kubínová (alternation); Papagena:Veronika Cvejnová (alternation); ~ Renáta Pochmanová (alternation); Papageno:Petr Sejpal (alternation); ~ Nikolai Nekrasov (alternation); Monostatos:Jiří David (alternation); ~ Jaroslav Rainer (alternation); ~ Josef Zedník (alternation); První ozbrojenec:Jiří David (alternation); ~ Jaroslav Rainer (alternation); Druhý ozbrojenec:Jiří Nerad (alternation); ~ Jiří Přibyl (alternation); Sólisté děts. sboru Severáček: The Magic Flute (German: Die Zauberflöte), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue.The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death.
Wolfgang Amadeus Mozart Emanuel Schikaneder Benedikt Schack Stein Johann Joseph Nouseul Josepha Hofer Hölle Franz Xaver Gerl 1789 1790 1791
The Magic Flute (German: Die Zauberflöte), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The work premiered in 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna. The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack (the first Tamino), and had contributed to the compositions of the troupe, which were often collaboratively written. Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K. 625/592a) among other passages. Like The Magic Flute, Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles. Mozart evidently wrote keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (Johann Joseph Nouseul) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels. The pitch ranges of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles. The Queen of the Night's "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell boils in my heart") reaches a high F6, rare in opera. At the low end, the part of Sarastro, premiered by Franz Xaver Gerl, includes a conspicuous F2 in a few locations. The duet "Bei Männern welche Liebe fühlen" is from Act 1 Scene 2 and although written as a voice duet, I created this arrangement for Flute & Viola. Sheet music made with MuseScore - (http•••)
Wolfgang Amadeus Mozart Emanuel Schikaneder Benedikt Schack Stein Johann Joseph Nouseul Josepha Hofer Hölle Franz Xaver Gerl 1789 1790 1791
The Magic Flute (German: Die Zauberflöte), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The work premiered in 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna. The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack (the first Tamino), and had contributed to the compositions of the troupe, which were often collaboratively written. Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K. 625/592a) among other passages. Like The Magic Flute, Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles. Mozart evidently wrote keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (Johann Joseph Nouseul) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels. The pitch ranges of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles. The Queen of the Night's "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell boils in my heart") reaches a high F6, rare in opera. At the low end, the part of Sarastro, premiered by Franz Xaver Gerl, includes a conspicuous F2 in a few locations. The duet "Bei Männern welche Liebe fühlen" is from Act 1 Scene 2 and although written as a voice duet, I created this arrangement for Flute & Viola.
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