Yes I have always loved this part; despite it being a small part of the opera, it is stirring and memorable. My favourite though I think is Ach ich fuhl's which I think is the key moment of the opera. Watch Gundula Janaowitz from 1964 singing it , in my opinion quite astonishing.
The text is actually taken from the French novel "Sethos" which talks about the Egyptian mysteries and which is one of the source texts which Schickaneder integrated into the opera.
Lo 'staccato' di viole, violini e violoncelli che si incrociano e si rispondono, creando quasi dei contrappunti al quadrato, è uno dei brani di Mozart che più adoro, insieme all'Ouverture del Don Giovanni, e alla seconda parte del Dies Irae del Requiem, dove, pure, c'è un gioco di contrappunti, tra archi e voci, che lo rendono incredibilmente suggestivo. Incredibile il genio di Mozart, in questo come in altri casi. Pensare in che epoca, questa musica è stata scritta... Cioè... cosa c'era, in giro, a quell'epoca... confrontato con questa, musica. Non c'è da stupirsi se all'epoca solo pochi, fossero in grado anche solo di capirla. Per tutti gli altri... erano "troppe note"
the owl is fabulous, so is the King Tut head-gear of the two Armoured Men. The music is too good to believe. How could any person write music this good? It is amazing!
This is actually based on a famous Luther hymn from 1524 "Ach Gott, vom Himmel sieh darein." Bach set a whole cantata to this theme, and Pachabel (of the Pachabel Canon) set it as well. Mozart gives it his personal "spin" in a brilliant way.
C'est beau ! Petite, cette partie des retrouvailles m'a toujours fait pleurer de joie. "Tamino mein! Pamina mein! Oh welch ein Traum!" Divine.. D'ailleurs, ces chanteurs maîtrisent vraiment bien l'allemand et les paroles sont facilement compréhensibles. Vivent les Parisiens! Vive Mozart!
Tamino would NEVER have survived the trials without the Königin de Nacht, he should be grateful to her instead of holding those backward views on women.
Nonsense. The whole opera is an allegory. Both "backward views" on women and people of color are based on a literal and non-allegorical interpretation. Study interpretations based on Freemasonry, Rosicrucianism or Alchemy.
C'est indiqué nulle part, malheureusement: cette video vient d'un enregistrement (DVD chez TDK) à l'Opéra de Paris en 2001: Dorothea Röschmann et Piotr Beczala sont les deux protagonistes principaux ici, direction Ivan Fischer.
@@gretchenchellson8616 What microphone? You must know very little of modern opera if you're surprised by the fact that they use microphones (wireless or hung above the stage) to reinforce the (poor) performance of the singers...
I am German, the Opera is in German Language and I still need the French subtitles to understand the words. That I hate on Opera. For me the feeling of the glorious music is corrupted and that is sad.
Frankly speaking, it's quite normal not to be able to (fully) understand opera singing even in one's own language, especially when it comes to longer or higher notes. So the blame is not ALWAYS on the singers, but often on the matter itself.
La richesse symbolique de la mise en scène va jusque dans les moindres détails ! Entre autres la différence de jeu des deux Égyptiens.
Les colonnes. Parfait, je le pense aussi.
Absolutely beautiful! Thank you for sharing this! :)
I freaking LOVE this part of the opera, I LOVE the guards' aria. So incredible, so mysterious, so strong.
....and very strongly influenced by Bach !
Yes I have always loved this part; despite it being a small part of the opera, it is stirring and memorable. My favourite though I think is Ach ich fuhl's which I think is the key moment of the opera. Watch Gundula Janaowitz from 1964 singing it , in my opinion quite astonishing.
The text is actually taken from the French novel "Sethos" which talks about the Egyptian mysteries and which is one of the source texts which Schickaneder integrated into the opera.
Lo 'staccato' di viole, violini e violoncelli che si incrociano e si rispondono, creando quasi dei contrappunti al quadrato, è uno dei brani di Mozart che più adoro, insieme all'Ouverture del Don Giovanni, e alla seconda parte del Dies Irae del Requiem, dove, pure, c'è un gioco di contrappunti, tra archi e voci, che lo rendono incredibilmente suggestivo.
Incredibile il genio di Mozart, in questo come in altri casi.
Pensare in che epoca, questa musica è stata scritta...
Cioè... cosa c'era, in giro, a quell'epoca... confrontato con questa, musica.
Non c'è da stupirsi se all'epoca solo pochi, fossero in grado anche solo di capirla.
Per tutti gli altri... erano "troppe note"
❤
"Too many notes." like in Amadeus lol
I'll be singing the part of the tenor armored man this fall! Very excited!
cool!
yesterday i saw the magic flute for the first time live.
that were really beatiful 3 hours
I love how the knights in armor actually move during the entire aria. Cause in most productions they just stand and sing
the owl is fabulous, so is the King Tut head-gear of the two Armoured Men. The music is too good to believe. How could any person write music this good? It is amazing!
have you heard Handel?
This is actually based on a famous Luther hymn from 1524 "Ach Gott, vom Himmel sieh darein." Bach set a whole cantata to this theme, and Pachabel (of the Pachabel Canon) set it as well. Mozart gives it his personal "spin" in a brilliant way.
@@philipthornton6868 Yes but Mozart is better to me.
Seems Mozart got some inspiration from Bach Erster Teil 8 Aria
The origin of Mozart's composition is said to be Bach's 'Ach Gott vom Himmel sieh darein' BWV741
My favorite aria of the opera!❤️
Mine too (though, technically, it's not an aria, but a typical chorale).
Bach would've been so proud
C'est beau ! Petite, cette partie des retrouvailles m'a toujours fait pleurer de joie. "Tamino mein! Pamina mein! Oh welch ein Traum!" Divine.. D'ailleurs, ces chanteurs maîtrisent vraiment bien l'allemand et les paroles sont facilement compréhensibles. Vivent les Parisiens! Vive Mozart!
the quartet is one of the most beautiful moments in music but it must be sung with sweetness and humanity.
Brings tears to my eyes, Mozart really got it...
Tamino would NEVER have survived the trials without the Königin de Nacht, he should be grateful to her instead of holding those backward views on women.
Nonsense. The whole opera is an allegory. Both "backward views" on women and people of color are based on a literal and non-allegorical interpretation. Study interpretations based on Freemasonry, Rosicrucianism or Alchemy.
This gives me goosebumps!
Ach Gott vom Himmel sieh darein mozart
plus 'sich den mysterien der Isis' after the hymn (which is based on 'Begierlich in dem Herzen mein', 1410, unknown composer)
C'est indiqué nulle part, malheureusement: cette video vient d'un enregistrement (DVD chez TDK) à l'Opéra de Paris en 2001: Dorothea Röschmann et Piotr Beczala sont les deux protagonistes principaux ici, direction Ivan Fischer.
@vexillum1 Thanx. Wish, there would be more productions like that.
Wonderful music by the greatest composer.
amazing set! the voices and tempo aren't bad either! A+
I love this! But its strange that Tamino doesn’t even pretend to play the flute, he just holds it in front of him....
It is a magic flute, no? Haha :-)
He starts playing at 8:30 .
Where is this production from?
2001 Paris
Uno de los fragmentos mas hermosos
@KyndalSarah Same here!
Che sublime partizione!! Musica di ispirazione “ celestiale “!!
Why is Choire in the end Cut???
That is sad!!!!!
The soprano overpowered everybody else I think she was too near the microphone
WHAT microphone?????
@@gretchenchellson8616 What microphone? You must know very little of modern opera if you're surprised by the fact that they use microphones (wireless or hung above the stage) to reinforce the (poor) performance of the singers...
Bonjour Amis de la musique et de la spiritualité,
Est ce que quelqu'un pourrait me dire où trouver le DVD de la version 2007 ? Merci,
Sylvain
Wow!
I am German, the Opera is in German Language and I still need the French subtitles to understand the words. That I hate on Opera. For me the feeling of the glorious music is corrupted and that is sad.
Frankly speaking, it's quite normal not to be able to (fully) understand opera singing even in one's own language, especially when it comes to longer or higher notes. So the blame is not ALWAYS on the singers, but often on the matter itself.
at 4:30, the placement of that A is perfect! Not overbearing. I love it