Wunderlich/Böhm Zauberflöte

81qhieybdcl._sl1200_

No doubt these days some might find Böhm’s approach somewhat too portentous, and there is no denying his seriousness from the first few bars of the overture, but I like it, whilst admitting that it’s not always how I would like to hear the opera.

His cast is stronger on the male side than the female, lead by Wunderlich’s peerless Tamino, a treasurable example of him in a complete opera. Not always as stylish as Simoneau, he brings an approproately heroic dimension to the character, with the added advantage of the sheer beauty of that voice. There really is none better on disc. Franz Crass’s sonorous Sarastro is another asset, as are the Armed Men of James King and Marti Talvela. Hotter is an authoratative Speaker, but his voice is beginning to show signs of age. Fischer-Dieskau may not be a natural for Papageno, and I think I’m right in saying it wasn’t one of his stage roles. Admittedly he misses some of the wide-eyed charm of the best interpreters of the role, but his singing qua singing gives a lot of pleasure and in Bei Männern he gives Evelyn Lear a lesson in pure legato singing.

Which brings me to the women. Lear can be shrill on high, and hardly ever phrases with distinction, her legato leaving something to be desired. No patch, certainly, on the likes of Janowitz, Popp, Margaret Price, Lemnitz, Te Kanawa or even Rosa Mannion, who sings the role on William Christie’s highly recommendable HIP version. Roberta Peters, on the other hand, is a lot better than I remembered, and she does at least sound dangerous, her coloratura glitteringly precise. Lisa Otto is a pert Papagena.

So, still a worthy Die Zauberflöte, and one I woud not want to be without, for Wunderlich’s Tamino at least.