Mozart’s opera “Magic Flute” has a distinctive status in Western cultural history. Arena like “Der Hölle Rache” and “Where Vogelfänger bin Ich yes” has been used in advertising for everything from Volvo to Red Bull. Numbers have been listening to TV series like “Gossip Girl”, “Buffy The Vampire Slayer” and “House”. Some may even have seen Ingmar Bergman’s famous filmization from 1975. “The Magic Flute” is thus one of the few classic music works that has become part of the popular culture. Despite being strange stuff, with a plot approaching the incomprehensible (see fact box). About the “Magic Flute” by Mozart Original title: “Die Zauberflöte” tool type: Opera in two acts with spoken dialogue and musical song numbers composer: Wolfgang Amadeus Mozart (1756-91) Text writer: Emmanuel Schikaneder Premiere: Vienni, the fall of 1791, the fall, has been abducted by the evil wizard Sarastro. The queen of the night promises her daughter as a reward, and equates Tamino with a magical flute that gives him power over the surroundings. As a companion, tamino bird catcher Papageno, a simple man who likes good food and drink, but who misses a make. Along the way, Tamino discovers that Sarastro is not an evil wizard, but a certain leader of a sacred brotherhood. Tamino and Papageno will now undergo trials to be inaugurated in the Brotherhood. Tamino shows heroism and eventually goes united with pamina through fire and water, helped by the magical whistle. Papageno is not found worthy, but still gets a papagena he can start with. The queen of the night and her evil assistants were ruled down in the abyss. Are we talking about adventure or advanced information thinking? Large art or consolida of pretentious Freemasonry propaganda and stupid slapstick humor? The scholars struggle. But no one disputes that Mozart’s music in “The Magic Flute” belongs to the miracles of music history. From a geographical edge in the Mozart context, the music on this new album rarely sounds dewy. A Trønder in Paris Here we are simply talking about a recording of the “Magic Flute” so innovative and vital that it should raise some eyebrows in both lay people and understanders. Behind there are some people who at least in the name are located in the city at the width of the Nidelv, up there in the areas where once Einar Tambar quake swung the arch. The brain behind it all is Martin Wåhlberg, who is a daily professor of literature at NTNU. There, he is dealing with things like French post -structuralists’ dubious attitude towards sexual intercourse with minors. But Wåhlberg also researches the 18th century opera, and this brings us into his escapades outside of office hours. COMMUNITY COMMENT: Martin Wåhlberg was born in Vesterålen, and has studied in Paris. The dream was originally to become a cellist, but Wåhlberg instead ended up as a literature professor at NTNU with French enlightenment time as a special field. Photo: Antoine Thiallier / Athipic Photographie / Antoine Thiallier Since 2012, Wåhlberg has been the driving force behind the annual festival Baroque party in Trondheim, where Orchestra Nord originated as a kind of festival orchestra. In front of this gang, Wåhlberg has made a startling comet career as a conductor. Wåhlberg and Orchestra Nord already have several critically acclaimed recordings behind unknown French 18th-century operas, published on the extremely credible French record label Aparté. So Wåhlberg and his crew have made the trip to Paris and made a recording of the world’s most famous opera that should get ancient legends like Karajan and Böhm to put their heads in the coffin lid. Young Sensation Wåhlberg and Orchestra north belong to the part of the classic music scene that specializes in so -called “historically informed” performances of music from earlier poker. An important point here is to get the music to sound as much as possible, which requires knowledge of historical instruments, game techniques and singing ways. In itself this is old news. But Orchestra Nord takes this project a good deal longer than anyone has done before, at least in this opera. To take the most sensational: The soprano who sings the important role of Pamina, Ruth Williams, was 17 years old when this recording was made. This is the same age as Anna Gottlieb in the same role in when Mozart himself directed in Vienna in September 1791. Photo: Aline Lidwell Much can be said about this, not least that what is today an unimaginable young age for an opera singer was much more common in Mozart’s time. Will not a 17-year-old Pamina today have a shock effect that no one experienced at that time? Well, of course, and that’s the whole point! Williams’ young age is rooting in our gradually fixed perception of what kind of opera “The Magic Flute” is. And in case some wonder: Ruth Williams sings absolutely beautiful. The scene where the pamina stands with the dagger in hand, ready to take her own life, is so wonderful that I cry with pure joy. Purung: Anna Gottlieb sang the role of Barbarina in “Figaro’s wedding” under Mozart’s lead when she was 12 years old. Five years later, she sang to world fame as the first Pamina. Photo: Public Domain Tonested with Breasts to Make a Long History Short: All the Way, Wåhlberg makes thoughtful and innovative choices that give me an experience of hearing the “magic flute” for the first time. (Believe me, I’ve heard many recordings.) Orchestra North sounds like a bullet, and the soloists are evenly over at a high level. Baryton Manuel Walser is outstanding in the role of bird catcher Papageno. Top level: Baryton Manuel Walser impresses in the role of bird catcher Papageno. Photo: Thomas Walser / news Men: This is no “perfect” version. Sometimes it bursts when Wåhlberg boldly spans the conductor arch. Several of the larger ensembles lose momentum along the way, which I think is because Wåhlberg becomes too detailed and loses the formal overview. A double -edged sword is the size of the ironing group, which together counts only twelve musicians. These have the job of matching the 15 blowers that Mozart composes in this opera. Spray: Orchestra North plays at high level, despite imbalance in the orchestra sound in the blowing favor. Photo: Antoine Thiallier / Athipic Photographie / Antoine Thiallier Although this definitely sounds cracked, the result is inevitable that strikers are overwhelmed by the blowers in powerful parties, several places at the expense of important musical material. Impressively released The most important thing here is that Wåhlberg and Orchestra Nord has made a recording of the “Magic Flute” which appears to be impressively released in relation to all prevailing perceptions of how this music should be played. If there is something the classic music needs, it is precisely this. Big things have happened before up in Nidaros. But just this one I didn’t see coming. About the release title: Mozart “Die Zauberflöte” Starring: Orchestra Nord, Vox Nidrosiensis, Martin Wåhlberg (conductor), Manuel Walser (Papageno), Angelo Pollak (Tamino), Ruth Williams (Pamina), Pauline Texians (Pauline Taxi (Sarastro), Solveig Bergersen (Papagena), Olivier Trommenschlager (Monostatos), Eric Anders (Sprecher/Erster Presester), Julie Goussot (Essta Dame), Natalie Perez (Zweite Dame), Aliénor Feir «News morning»: Published 28.04.2025, at. 06.00
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