Read PDF Seid uns zum zweiten Mal willkommen, No. 16 from Die Zauberfl?te, Act 2 (K620) (Full Score)

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Other Sellers on Amazon. Have one to sell? Image Unavailable Image not available for Color: See all formats and editions Hide other formats and editions Price. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Die Zauberflote The Magic Flute. Le Nozze di Figaro. Customers who bought this item also bought. Introduction 'Zu Hilfe, zu Hilfe'. Scenes 10 to 12 'He, Sklaven!

Scene 18 'Herr, ich bin zwar Verbrecherin'. March of the Priests. Scene 2 'Eine schreckliche Nacht! Scenes 'Morden soll ich? Scene 30 'Nur stille! DDD Number of Discs: Related Video Shorts 0 Upload your video. Share your thoughts with other customers. Write a customer review. Read reviews that mention flute christie queen dessay magic papageno recording pamina tamino natalie singers opera instruments sounds notes period aria singing zauberflote blochwitz.

There was a problem filtering reviews right now. Please try again later. Sven Edward Top Contributor: Audio CD Verified Purchase. Mozart's great opera suffers here from weak casting. Christie says he wants to find medium-voices singers who sing "on the breath" and have the orchestra play not-too-loud so that they don't push. Well, he did not succeed. The smallish voices, yes. Sarastro and Pamina are well sung. But many of the singers have a pushed, strident, wobbly sound.

Christie's Tamino sounds more like a character tenor and would be better suited to Monastatos. Sorry kids, not your fault. But worst of all is Natalie Dessay. She does her best imitation of an opera singer, and to her credit does handle the coloratura well.

The orchestra is fine, so it's a real shame about the singing. I cannot recommend this as your only Flute recording. Maybe a third or fourth. First of all, I am a big fan of Magic Flute. I have listened more than 15 different versions of this opera, conducted by Abbado; Karajan; Jacobs; Fricsay; Klemperer And believe it or not, just hear the first 10 seconds of the Overture, you will recognize, at once, something very special in Christie's conducting, whcih you can not find in any others' performance.

This is the first time, I DO realize that the conductor has such power, or magic, to bring a totally different life to classical music. For me, the best parts of this version: The way Christie controls the tempo and flaw. It is just right on time, never too fast, never too slow. I feel its just the way even Mozart himself will like this opera to be played.

For other versions, I feel "sleepy" in the very begining Overture, except for the Abbado's version. But Abbado goes so fast that I feel like he has to finish the play early in order to catch the airplane. The performance of Anton as Papageno is simply the best! Papageno is a very special character, he's so happy; so free; so childish; so innocent; so brainless, in his own way, and Anton just brings out all the aspects of Papageno. Listen to track 6 in Act. I really like this version.

If you like Magic Flute, please do give it a try! For those enjoy a really fast music flow, Abbado's version is a nice try. One person found this helpful. The casting of the roles relies on the actual vocal range of the part. The work is scored for two flutes one doubling on piccolo , two oboes , two clarinets doubling basset horns , two bassoons , two horns , two trumpets , three trombones alto, tenor, and bass , timpani and strings.

It also requires a four-part chorus for several numbers notably the finales of each act. Mozart also called for a stromento d'acciaio instrument of steel to perform Papageno's magic bells; an instrument which has since been lost to history, though modern day scholars believe it to be a keyed glockenspiel , which is usually substituted with a celesta in modern-day performances. Charles Rosen has remarked on the character of Mozart's orchestration:. The opera begins with the overture, which Mozart composed last.

Tamino, a handsome prince lost in a distant land, is pursued by a serpent and asks the gods to save him aria: He faints, and three ladies, attendants of the Queen of the Night, appear and kill the serpent. They find the unconscious prince extremely attractive, and each of them tries to convince the other two to leave. After arguing, they reluctantly decide to leave together. Tamino wakes up, and is surprised to find himself still alive.

Papageno enters dressed as a bird. He describes his life as a bird-catcher, complaining he has no wife or girlfriend aria: Tamino introduces himself to Papageno, thinking Papageno killed the serpent. Papageno happily takes the credit — claiming he strangled it with his bare hands. The three ladies suddenly reappear and instead of giving him wine, cake and figs, they give him water, a stone and place a padlock over his mouth as a warning not to lie.

They give Tamino a portrait of the Queen of the Night's daughter Pamina, with whom Tamino falls instantly in love aria: The ladies return and tell Tamino that Pamina has been captured by Sarastro, whom they describe as a powerful, evil demon.

FOLIO: Die Zauberflöte, K620

Tamino vows to rescue Pamina. The Queen of the Night appears and promises Tamino that Pamina will be his if he rescues her from Sarastro Recitative and aria: The Queen leaves and the ladies remove the padlock from Papageno's mouth with a warning not to lie any more. They give Tamino a magic flute which has the power to change sorrow into joy.

They tell Papageno to go with Tamino, and give him Papageno magic bells for protection. The ladies introduce three child-spirits, who will guide Tamino and Papageno to Sarastro's temple. Together Tamino and Papageno set forth Quintet: Pamina is dragged in by Sarastro's slaves, apparently having tried to escape. Monostatos, a blackamoor and chief of the slaves, orders the slaves to chain her and leave him alone with her. Papageno, sent ahead by Tamino to help find Pamina, enters Trio: Monostatos and Papageno are each terrified by the other's strange appearance and both flee.

Papageno returns and announces to Pamina that her mother has sent Tamino to save her. Pamina rejoices to hear that Tamino is in love with her. She offers sympathy and hope to Papageno, who longs for a wife. Together they reflect on the joys and sacred duties of marital love duet: The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains patient, wise and steadfast, he will succeed in rescuing Pamina Quartet: Tamino approaches the left-hand entrance and is denied access by voices from within.

The same happens when he goes to the entrance on the right. But from the entrance in the middle, an old priest appears and lets Tamino in. The old priest is referred to as "The Speaker" in the libretto, but his role is a singing role. He tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship.

Tamino plays his magic flute. Animals appear and dance, enraptured, to his music. Tamino hears Papageno's pipes sounding offstage, and hurries off to find him aria: Papageno and Pamina enter, searching for Tamino trio: They are recaptured by Monostatos and his slaves.

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Papageno plays his magic bells, and Monostatos and his slaves begin to dance, and exit the stage, still dancing, mesmerised by the beauty of the music chorus: Papageno and Pamina hear the sound of Sarastro's retinue approaching. Papageno is frightened and asks Pamina what they should say. She answers that they must tell the truth. Sarastro enters, with a crowd of followers. Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his attentions on her.

Sarastro receives her kindly and assures her that he wishes only for her happiness. But he refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence on those around her. Pamina, he says, must be guided by a man.

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Monostatos brings in Tamino. The two lovers see one another for the first time and embrace, causing indignation among Sarastro's followers. Monostatos tells Sarastro that he caught Papageno and Pamina trying to escape, and demands a reward. Sarastro, however, punishes Monostatos for his lustful behaviour toward Pamina, and sends him away.

He announces that Tamino must undergo trials of wisdom in order to become worthy as Pamina's husband. The priests declare that virtue and righteousness will sanctify life and make mortals like gods " Wenn Tugend und Gerechtigkeit ". The council of priests of Isis and Osiris , headed by Sarastro, enters to the sound of a solemn march. Sarastro tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment. Tamino and Papageno are led in by two priests for the first trial.

The two priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and swear them to silence Duet: The three ladies appear and try to frighten Tamino and Papageno into speaking. Seeing that Tamino will not speak to them, the ladies withdraw in confusion. Monostatos approaches and gazes upon her with rapture. In response to the Queen's questioning, Pamina explains that he is joining Sarastro's brotherhood and she is thinking of accompanying him too. The Queen is not pleased.

She explains that her husband was the previous owner of the temple and on his deathbed, he gives the ownership to Sarastro instead of her, rendering the Queen powerless This is in the original libretto, but in modern productions, it is usually omitted, making the scene with Pamina and her mother shorter. She gives Pamina a dagger, ordering her to kill Sarastro with it and threatening to disown her if she does not.

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Monostatos returns and tries to force Pamina's love by threatening to reveal the Queen's plot, but Sarastro enters and drives him off. Pamina begs Sarastro to forgive her mother and he reassures her that revenge and cruelty have no place in his domain Aria: Tamino and Papageno are led in by priests, who remind them that they must remain silent.

Papageno complains of thirst. An old woman enters and offers Papageno a cup of water. He drinks and teasingly asks whether she has a boyfriend. She replies that she does and that his name is Papageno. She disappears as Papageno asks for her name, and the three child-spirits bring in food, the magic flute, and the bells, sent from Sarastro Trio: Tamino begins to play the flute, which summons Pamina.

She tries to speak with him, but Tamino, bound by his vow of silence, cannot answer her, and Pamina begins to believe that he no longer loves her.

Mozart - Seid uns zum zweiten Mal willkommen - The Magic Flute

The priests celebrate Tamino's successes so far, and pray that he will succeed and become worthy of their order Chorus: Pamina is brought in and Sarastro instructs Pamina and Tamino to bid each other farewell before the greater trials ahead, alarming them by describing it as their "final farewell. Sarastro, Pamina, Tamino — " Soll ich dich, Teurer, nicht mehr sehn? In order to preserve the continuity of Pamina's suicidal feelings, this trio is sometimes performed earlier in act 2, preceding or immediately following Sarastro's aria " O Isis und Osiris ".

The priests grant his request for a glass of wine and he expresses his desire for a wife. The elderly woman reappears and warns him that unless he immediately promises to marry her, he will be imprisoned forever. When Papageno promises to love her faithfully muttering that he will only do this until something better comes along , she is transformed into the young and pretty Papagena.

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Papageno rushes to embrace her, but the priests drive him back, telling him that he is not yet worthy of her. The three child-spirits hail the dawn. They observe Pamina, who is contemplating suicide because she believes Tamino has abandoned her. The child-spirits restrain her and reassure her of Tamino's love. Two men in armor lead in Tamino. They recite one of the formal creeds of Isis and Osiris, promising enlightenment to those who successfully overcome the fear of death " Der, welcher wandert diese Strasse voll Beschwerden ".

This recitation takes the musical form of a Baroque chorale prelude , to a tune inspired by Martin Luther 's hymn " Ach Gott, vom Himmel sieh darein " Oh God, look down from heaven. Pamina calls to him from offstage. The men in armour assure him that the trial by silence is over and he is free to speak with her.

Pamina enters and declares her intention to undergo the remaining trials with him. Protected by the music of the magic flute, they pass unscathed through chambers of fire and water.