The main appeal of this release will be the marvelous leadership of George Szell, into whose hands this opera fell when Karl Böhm gave it over at Salzburg in 1956, when this performance was recorded. The opera is led at quite a clip, but with clarity and, yes, wit (if instruments can be witty). The fact that it is a live performance adds to the infectious humor and energy. Lots of stage movement is audible and pauses for stage action occasionally get in the way, but that’s hardly a problem.
What is a problem is the singing, some of it quite raw. Rudolf Schock is a beefy Belmonte, ardent to be sure, but hardly melting, and although he only gets part of his third-act aria, “Ich baue ganz”, it’s hard going for him (and us). His Constanze is Erika Köth, a hard-voiced coloratura who nevertheless has charm and sings her three difficult arias well, given the live venue. Lisa Otto’s Blonde is as pert as it should be, and her voice climbs easily into the stratosphere. She’s well coupled by Murray Dickie as Pedrillo, who capably sings his Mozartian-Heldentenor aria. The Osmin of Kurt Böhme has all the notes and all the attitude–a good performance, while Hansgeorg Laubenthal proves a menacing Pasha Selim. As suggested, the Vienna players and singers are wonderful despite some raucous moments, and the sound is good enough. But this isn’t really even in the top handful of recordings of this opera. Szell’s terrific, however.
