For the third month running we have a new version of this opera. Whether this flooding of the market makes sense isn't for me to say, but at least each version presents a contrasting view of the great work. This one proceeds from Sir Charles's lifetime association with Mozart's operas. Strange then that this should be his first recording of any. Broadly speaking, it is a reading with modern instruments that observes the performing practices employed in period-instrument performances, so that it lies midway between the new Solti (Decca) and Norrington (EMI) versions, though with a definite bias towards the Norrington.
Mackerras explains his approach to tempo, citing contemporary evidence for faster speeds than those found in most traditional sets, although in most cases he avoids the sense of hurry experienced with Norrington. He also states his preference for regular use of appoggiaturas and for the occasional embellishment (these are pretty discreet). More important, indeed crucial, is the sense of an overall picture of the piece in terms of tempo relationship that I found missing with Norrington. In Mackerras's case, the precision of the articulation, the consistent attention to note lengths and values which gives his interpretation a wonderful buoyancy while allowing for the required moments of repose and/or passion. He gains trim, finely moulded playing from the Scottish Chamber Orchestra and lovely singing from its associated Chorus. Altogether this is as thoughtful and convincing a reading as any on disc and Telarc are to be praised for their foresight in recording it. By the way, Mackerras gives the duet for Tamino and Papageno, ''Pamina, wo bist du?'', probably only Mozart in outline, as an Appendix.
I hope the series now started will continue, but that a more sensible policy will be taken over casting. It is an irony that all the subsidiary roles are here spoken and sung by German-speaking artists while the major ones have been given to English-speaking ones. Again and again, in both dialogue and song, the differences in idiomatic diction is all too apparent. The two British singers fare better than their American colleagues. Indeed Thomas Allen as Papageno has well-nigh perfect German and just as important, gives us a sprightly yet mellow-voiced birdcatcher of notable charm. Everything he does in the role is natural yet full of character. He is preferable to Andreas Schmidt (Norrington) but of course he cannot match the cheeky Viennese reading of Michael Kraus (Decca), still my favourite among recent interpreters, although I share HF's enthusiasm for Olaf Bar, the one bright spot in the Marriner reading (Philips), and Mikael Melbye (Davis/Philips). Robert Lloyd is another serious linguist with admirable German and the authority of an experienced Sarastro, although not quite the sonority of Kurt Moll (Decca).
In spite of a dialogue consultant, Gottfried Hornik, once a Papageno, here a good Speaker, none of the three American principals is really happy in German. Jerry Hadley is most successful and presents a pleasingly youthful, eager Tamino with a touch of metal in his tone to suggest the heroic, but he yields many points in line and phrasing to both Anthony Rolfe Johnson (Norrington) and Uwe Heilmann (Solti), not to overlook the matchless Peter Schreier (Davis). Hadley doesn't sound saturated in the world of Mozart. Nor does Hendricks whose anonymous portrayal, sometimes edgy singing and awkwardly ingenuous speech is a disappointment. Good intentions are simply not enough. Ruth Ziesak's fresh, intelligent performance for Solti much pleased HF though I have reservations about the calibre of her voice—especially if you compare her with Margaret Price (Davis). June Anderson's Queen of Night is impossible in dialogue but many may acquire a taste for her rightly fiery coloratura and characterization in her arias, a quite different Queen from the smoother, sparky Sumi Jo (Solti).
In a world less dominated by market forces Mackerras might have chosen the up-and-coming tenor Peter Svensson as Tamino: here his promise is self-evident as First Priest and First Armed Man. Petra Maria Schnitzer, here an imposing leader of the Ladies, could have been cast as Pamina. The three Scottish Boys sing ethereally although they too struggle with the German. Hornik himself is admirable in both his roles. Wildhaber makes a nimble Monostatos. Ulrike Steinsky is a lively Papagena.
The recording, made in Edinburgh's Usher Hall, is natural as regards the orchestra, but the singers sound as if they are performing in an empty auditorium—which is in fact the case. So much reverberation around the voices only emphasizes that this is a 'studio' as opposed to a live performance. The Decca version shows how to suggest a theatre acoustic. So, where recommendations are concerned, the situation hasn't changed since last month—except that those who realize Mackerras's deep understanding of Mozart style and ethos will undoubtedly want to sample this set.'