RECORD REVIEW : Duel of the ‘Zauberflotes’

Mozart: “Die Zauberflote.” Orgonasova, Jo, Winbergh, Hagegard, Selig, Muff, Bovet, others; Ensemble Orchestral de Paris, Armin Jordan, cond. Erato 2292-45469-2 (2 CDs).

Mozart: “Die Zauberflote.”; Te Kanawa, Studer, Araiza, Bar, Ramey, Van Dam, Lind, others; Academy of St. Martin in the Fields, Sir Neville Marriner, cond. Philips 426-276-2 (2 CDs).

Both these entries in the “Zauberflote” sweepstakes are honorable additions to the catalogue, though their artistic approaches are different. The Erato set has a separate cast of actors for the dialogue directed by Martin Markun, while Philips relies on no less than August Everding to put the singers through the spoken paces.

Marriner’s is the more stellar cast, but the musical results of both sets are weighted fairly evenly--with one notable exception. Although she has some tempo problems, Cheryl Studer is a thrilling Queen of the Night, with a brilliant edge to her big, weighty voice that Sumi Jo’s squeaky, small-scale soprano cannot match. Te Kanawa’s lush Pamina is compromised by some effort at the very top, a problem not shared by Orgonasova. Winbergh may be preferred over Araiza, whose tenor is fraying seriously. Both Bar and Hagegard are stylish Papagenos, the former perhaps more youthful. Ramey lacks the ideal, sepulchral low notes for Sarastro; nonetheless he pours out a steady stream of gorgeous sound. Selig’s tone is bland in comparison.

Interestingly the Three Boys (from the Tolzer Knabenchor) must be racking up frequent flyer points, since the same trio appears on both sets. Ultimately, the choice boils down to the conductor. Marriner provides a fleet sparkle and verve that Jordan fails to match. That, plus Studer’s contribution, weighs in Philips’ favor. Cue numbers are provided for the dialogue in Philips, not in Erato. Both sets omit biographical notes, which is especially irksome with some of Erato’s little-known singers.