I post this because whenever I recommend to anyone the Queen of Night, I always recommend it in the Lucia Popp rendition. It's a matter of personal taste, but what I love about this is that it is somewhat slower than the other versions and as a result, it would seem to me somewhat more difficult to perform and sustain--those high notes in which the Queen's voice becomes the Magic Flute itself are rounded, full, and deep while remaining light and airy. I have read some rather severe criticism of this ritardando; and while it may or may not reflect Mozart's intent, it is certainly within the options for staging. It creates a real vocal showpiece from what is already a magnificent example of same. It really is an amazing example of a virtuoso composition sung by a virtuoso voice. All of which should not be taken to mean that I do not truly appreciate the version posted earlier by Diana Damrau, it's just nice to see what a difference tempo can make. I think we can take
I haven't seen the film, but I have read the book.
ReplyDeleteI think his title is a bit overblown--more to attract readers than as a realistic appraisal of his argument. It's easy sitting safely behind a keyboard commenting on the illogical actions of fictional characters. I find her actions to be very understandable. Moreover, he hasn't read the book, so his comments can only be about the film.
I left a comment following his post with some details I won't mention here for it may be a spoiler for some.