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The Magic Flute at English National Opera Photos :Richard H Smith The Magic Flute at ENO twice but absolutely hit those notes where it young manhood in Vienna but was hounded mattered, earning her applause before she had out of Germany and Austria by the Nazis, NO’s ever-green Zauberflöte returned to actually finished singing – which I always moved to America where he became a star E the Coliseum for the thirteenth time on 23 January. Unlucky for some was British Rail consider ill-mannered. Her ‘vengeance’ aria (Die Hölle Rache in the original German) in cinema composer in Hollywood. Mahler, Strauss, Furtwängler, Sibelius and Puccini whose trains truly did need doses of magic, particular was full of raw energy and passion. proclaimed his exceptional qualities, he had a being late returning and totally absent going. Her acting was good also in a role that often ballet produced at the Vienna Opera when he The original production dates from 1988 goes to a singer who can’t quite act or an was still in short trousers, Schnabel played a and was seen here last in 2007. Little has actress who can’t sing those top F notes. Piano Sonata Korngold composed when he changed, perhaps the mildest of tweaks, but Robert Lloyd returns on a rare outing as was thirteen, he was made a professor at the when it’s this good why would one want to? the Speaker to show us how it should be done. Vienna State Academy and his operas were Robert Murray as Tamino was well cast, Stuart Kale returned as the vile Monostatos in performed all over the German-speaking seeming charismatic and tender by turns, his a thoroughly entertaining portrayal. countries and beyond. In 1920 Die Tote Stadt rich baritone filling the Coli’s large areas with The orchestra under the baton of Erik was premiered simultaneously in Cologne and ease. Opposite him Sarah-Jane Davies return- Nielsen was pleasant without ever seeming to Hamburg, and in Vienna a month later. It was ed to her role of Pamina. Her portrayal is rise to the occasion, sometimes to lose bite, and about time that Covent Garden let us see and subtle and nuanced and totally believable. She others to be a little quiet. CHRISTOPHER MONK hear that opera and the British premiere duly has a rich, sweet soprano which was again appeared on 27 January. ample for the Coli’s acoustics. Die Tote Stadt – I prepared for that premiere by listening Roderick Williams returned again as Pap- A Great Evening at Covent Garden three times to a CD of the work and I confess ageno, for which we must be grateful; his inter- to being underwhelmed. The music is, to my pretation of the role in English must surely be nterest in Korngold grows apace. His superb taste, unfocused, brilliantly written for the the mark against which others are measured. Opposite him, Amanda Forbes as Papagena was Ifilm scores (two Oscars) have made people
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