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Magic Flutes

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Handel’s biblical oratorios have absolutely nothing to do with the Jews or Jewish culture. So prayer shawls, suitcases, any reference to the Holocaust, or long-suffering ghetto images – they are all out. In fact, Saul is about as Goyish as you can get. There’s not a drop of Jewish feeling in it at all. For Handel, Saul is a king, he’s not a Jewish king, it’s got nothing to do with Jewish iconography at all.” Buch, David J. (1997). "Mozart and the Theater auf der Wieden: New attributions and perspectives1". Cambridge Opera Journal. 9 (3): 195–232. doi: 10.1017/S0954586700004808. ISSN 1474-0621. S2CID 193162027.

When Mozart was six, he and his sister played at the Habsburg summer residence outside Vienna. He met the future queen of France, Marie Antoinette. She was two months older than Wolfgang and he immediately fell in love. She helped him when he slipped, and he promptly proposed to her. She didn’t accept. Anon. (25 October 2014). " Die Zauberflöte" (PDF) (Program notes). Metropolitan Opera. p.41. Archived from the original (PDF) on 2015-11-25 . Retrieved 2015-11-24. Casting problems also dog the period-instrument versions from Roger Norrington and John Eliot Gardiner. Proving his anti-Romantic point, Norrington conducts the fastest Flute on disc. Some numbers verge on the garbled. Gardiner, never one to underplay an accent, is less doctrinaire, though the faster music can still feel harried. He has a delectable Pamina in Christiane Oelze, whose ‘Ach ich fühl’s’, phrased in long, grieving spans, achingly distils the girl’s loneliness and desolation. For mingled simplicity and vocal beauty few duos match Oelze and Gerald Finley in ‘Bei Männern’. But Cyndia Sieden is a lightweight, disengaged Queen (her coloratura evokes a mechanical doll on speed), Harry Peeters a feeble Sarastro. Clare Lillig (Naperville, IL), Pamina, soprano, is a second-year student in the Maryland Opera Studio. She is a graduate of Anderson University, where she earned her dual degrees in voice performance and dance. There she was a recipient of the Excellence in Music Performance award, and winner of the Concerto and Aria Competition. Her roles there included Monica in Menotti’s The Medium, Susanna in Mozart’s The Marriage of Figaro and Miss Pinkerton in Menotti’s The Old Maid and the Thief. She performed the role of Juliska in Kalman’s The Csardas Princess with Chicago Folks Operetta and was a chorus member with Indianapolis Opera in their Chorus in Concert performance. Lillig had the opportunity to study and perform scenes for the roles of Marzelline from Beethoven’s Fidelio, and Hannah in Lehar’s Die Lustige Witwe at the young artist program Musiktheater Bavaria in Oberaudorf, Germany. Lillig is a student of Jennifer Casey-Cabot.It premiered in Vienna on 30 September 1791 at Schikaneder's theater, the Freihaus-Theater auf der Wieden. The story has traditional fairy tale themes and Masonic elements. It doesn’t matter though as the story is told in a fantastic landscape with fantastic characters. It’s a dream. Even the period is unimportant. Often the costumes bring us to imagine a 1700-environment, but it could be told in any context, as it’s a fairy tale. Gruber, Paul, ed. (1993). The Metropolitan Guide to Recorded Opera. London: Thames and Hudson. ISBN 0-500-01599-6. The one place where the opera upends Mason doctrine is by making Pamina both an initiate and essential to Tamino's initiation. Women were forbidden from joining the Masons, but Mozart didn't care in a mildly progressive move. Audiences of all ages Kosky was, in his own words, “bored shitless” by his first, youthful encounter with the piece. That is not as blasphemous a reaction as it sounds. Music notwithstanding, the action of Mozart’s last opera can drag. The story is confusing, the spoken dialogue cumbersome. Good for a child’s first opera? No, unless you want to curb an expensive habit early. The worry with this production was not that we would be bored but that we might be smothered by high-octane theatrical excess. The audience oohed and aahed, clapped, gasped and guffawed. There was no let-up

Mozart's delight is reflected in his last three letters, written to Constanze, who with her sister Sophie was spending the second week of October in Baden. "I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. "But what always gives me the most pleasure is the silent approval! You can see how this opera is becoming more and more esteemed." ... He went to hear his opera almost every night, taking along [friends and] relatives. [10]Scene 1. Sarastro meets with his council. They decide that Tamino and Pamina should marry and that Tamino should succeed Sarastro as their leader, provided he passes the trials set out by the ancient rite. Sarastro prays to Isis and Osiris, asking them to protect Tamino and Pamina. Wiseman, Andreas (22 March 2021). "Oscar Winner F. Murray Abraham & Call My Agent Star Stefi Celma Join Modern-Day Magic Flute, Filming Underway in Europe". Deadline Hollywood . Retrieved 27 March 2021. Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the temple (" Nur stille, stille" / Just quiet, quiet) and the Queen confirms her promise to give Pamina to Monostatos, but suddenly, with thunder and lightning, they are cast out into eternal night. The scene changes without a break, leading into scene 10. Heartz, Daniel (2009). Mozart, Haydn and early Beethoven, 1781–1802. New York: W. W. Norton. ISBN 978-0-393-06634-0.

Lawrence Barasa (Kenya) First Armored Man/Second Priest, tenor, developed his artistic profile as a member and assistant production manager of the Kenyan Boys Choir. In this capacity he interacted and performed with artists including the Jonas Brothers, Ellie Goulding, Ciara and Demi Lovato. Barasa has performed the roles of Spoletta in Astoria Music Festival and Eugene Opera’s production of Tosca. He also appeared as Don Basilio and Don Curzio in Le nozze di Figaro at the Astoria Music Festival in 2018, Hoffmann in Les contes d’Hoffmann and Don José in La Tragedy de Carmen at the University of Oregon. Barasa completed training at the Savannah Voice Festival 2019–20 under the tutelage of Sherrill Milnes and Maria Zouaves. Barasa graduated from the University of Oregon with a vocal performance degree under Karen Esquivel. He is currently a graduate international student at the University of Maryland Opera Studio studying with Professor Dolores Ziegler. The magic flute was Mozart’s last completed opera. When finishing the score he was ill, under severe economic stress, and possibly quite depressed. His La Clemenza di Tito, written for the coronation of Leopold II in Prague, didn’t go as well as Mozart had hoped. To that, Mozart’s wife, Costanze Weber left for Baden. Pamina comes rushing in and the Guards finally allow Tamino to talk. And so they can declare each other eternal love. Pamina wants to follow him into the dangers of the mountains. She gives him the flute and with the power of the magic music, they set off to face death. When the curtain rises before you, we celebrate the life of our mentor, our colleague, our sister, our Pamina. May the glorious music of Mozart you share with us adorn her path in the eternal light through infinite Widsom’s portal.

Branscombe, Peter (1991). Die Zauberflöte. New York: Cambridge University Press. ISBN 9780521319164.

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