Die Zauberflöte (The Magic Flute): Der Hölle Rache | Glyndebourne

Caroline Wettergreen performs 'Der Hölle Rache' from Mozart's Die Zauberflöte (The Magic Flute).
Recorded live at Glyndebourne Opera House, August 2019.
Creative team:
Conductor: Ryan Wigglesworth
Direction and Design: Barbe & Doucet
Puppet Designer: Patrick Martel
Lighting Designer: Guy Simard
Orchestra of the Age of Enlightenment
OAE Leader: Matthew Truscott
The Glyndebourne Chorus
Chorus Director: Aidan Oliver
Cast:
Tamino: David Portillo
First Lady: Esther Dierkes
Second Lady: Marta Fontanals-Simmons
Third Lady: Katharina Magiera
Papageno: Björn Bürger
Queen of the Night: Caroline Wettergreen
Monostatos: Jörg Schneider
Pamina: Sofia Fomina
Speaker: Michael Kraus
Sarastro: Brindley Sherratt
Second Priest and First Man in Armour: Thomas Atkins
First Priest and Second Man in Armour: Martin Snell
Papagena: Alison Rose
Puppeteers: Richard Booth, Mikey Brett, Ashleigh Cheadle, Jack Parker, Ben Thompson, Scarlet Wilderink

[@poulet1453]

She is sooo clear and doesn't eat the notes as other Queens usually do at 1:59

[@aleksanger18]

What a wonderful performance! Brava!

[@Paddopera]

Crushing it! Go Caroline!

[@Freijutskin]

I hear all the notes for the first time. Best performance!!!

[@Merlin1940]

It's the 1st time I see (and hear!) Der Hölle Rache with a singer so accurate _at the same time_ in her _singing,_ and in her rendition of the _sentiments and atmosphere._ Not every singer-actor renders properly the incredible wrath and hatred (never seen at that level AFAIK in other opera or music), but even more infrequently do they also let appear the underlying sorrow, surprise, disappointment that explain it. Also, the most surveyed difficulty, the doubled high F, here at 0:52 and 0:54, is rarely sung with at the same time the accuracy in pitch and tempo, and the power required as always for a good musical quality, even more here to express the said wrath and hatred. Even the top sopranos, on that doubled note, often are either imperfect in the pitch, or slightly late due to the preparation involved (Cheryl Studer), or slightly lack power in the highest part of the vocalise (many). I didn't know her, she is a good surprise to me. The inevitable little flaws in that masterpiece are here limited and out of the prominent passages (like the doubled high F above-mentioned). Sat 06 Aug 2022 00h14 GMT

[@pdserdar]

Gorgeous

[@trisdavies1556]

Spectacular!

[@vanessa.mari_spielt.roblox8132]

Really good

[@nyls1717]

That’s some strong acting. Ordering her daughter to murder someone and if saying you’ll disown her if you refuse, but somehow making it look like you’re the victim. Love it!

[@henrym1374]

Wonderful interpretation

[@keenoled]

Some blocking and a movement director slash fight director to focus the knife acting would have made this amazing. Everything except the weapon is brilliant.

[@p.w.e.2374]

She sure likes to sing with her eyes closed...

[@javieralejandrogutierrezfa8882]

Her voice is so goofy ......its a NO

[@etcetera1995]

Interesting, there seems to be a different take on the Queen's three servants than usual. They seem to be cringing away from her as much as Pamina usually does.

[@PaulSmith-qs1es]

I like that the director doesn't have her do the ah ah ah ah ah ahs into the singer's face as most productions do.

[@chatbud]

Where's Caroline Wettergreen from? Her climb to the A, then C and and to the top F is superb!

[@Megadad60]

She is Norwegian. If you can find a recording of "O zittre nicht" from the same Glyndebourne production - listen to the very final part where she goes up an octave - it gives me goosebumps of joy - each and every time!!

[@olivermunar4049]

Wonderful set design! I am eager to learn of the premise!

[@matthewheywood9200]

Her 'O Zittre Nicht' from earlier in this production is one of the best musical moments I have ever witnessed!

[@jakob_k001]

Is it here on youtube?

[@matthewheywood9200]

Jakob Krammer kzbin.info/www/bejne/a3e6gGyqg9OMitk not quite as good as the Glyndebourne performance. It was originally on BBC iPlayer in the UK.

[@Merlin1940]

"Matthew Heywood" ~2020 « _Her 'O Zittre Nicht'... one of the best musical moments..._ » It could be after discovering her in this Glyndebourne Der Hölle Rache, where she not only renders very well the immense wrath, hatred, hell of revenge, but also the sorrow and regrets without which those wrath and hatred would not be explained. Sat 16 Jul 2022 23h06 GMT

[@alfredodileliogh2507]

Super!

[@carlchristkure]

Fantastisk! 😍

[@macmonahan8070]

Where did they get those giant McDonald’s ketchup holders for the two of the three women’s heads ?

[@wendydeng4463]

3:04 there’s was like firework thingy exploded

[@FlowersInHisHair]

Gosh you're absolutely right. How do you do it Holmes

[@RaymondJamesCanute]

Great singing and acting ❤

[@wahnano]

Love it. Bravo! 👏

[@judithdameron4100]

Elle est nettement meilleure dans cette production que dans celle de l'opéra de Paris à l'automne 2022...

[@andrewlaycock3269]

Otherwise known as the Queen of the Night’s aria.

[@rodrigoorrego7866]

Mary Poppins as Quen of the night. The Regisseur didn’t understand who is the Queen of the Night. Boring as never seen before!!!

[@FlowersInHisHair]

She delivers the song well but her words don't seem to land on Pamina. The power dynamic is off, and it's not her fault - the director should have spotted it

[@metacarple]

On the contrary, thismis the best Magic Flute I have ever seen, in more than50 years of opera going. I saw it at Glyndebourne twice and have it on DVD as well. Feel free to judge a whole production by a KZbin excerpt but you’ll be wrong. Go and see this for yourself this summer at Glyndebourne.

[@wendydeng4463]

Where did it come from

[@Skipbo000]

ah, Youth

[@Calogeropoulos]

What awful voice! Saw her yesterday Rigoletto...poor her...out of pitch half of the time...

[@annewiklarssen1365]

Before criticizing others, and in particular what is in fact a brilliant, world class voice singing one of the most demanding arias in the operatic literature, I would take a close, hard look at my own singing if I were you. From what I can hear on your youtube channel, I'm tempted to turn your own words against you. Please remember that opera singers are human beings, working under immense pressure and highly demanding conditions to deliver to perfection. Behind what might in some cases be a sub optimal performance there might be hiding circumstances you know nothing about. Nerves, illness, a sore throat, exhaustion from working too much, jetlag, trauma, grief from losing a loved one...anything really. Have you ever considered the potential harm comments like yours might do to another person? Please keep that in mind the next time you intend to boost your own ego by putting others down. By the way I saw her in Rigoletto as well. Pitch perfect. She was absolutely stunning! 🙌✨

[@Calogeropoulos]

@@annewiklarssen1365 Let's see it differently: if, due to different reasons (jetlag, pressure, sickness, etc...pretty much the same you mentioned) I do a bad job, my leader will fire me. She, instead gets her money anyway, because us, the mere mortals, non-singers, because us aren't suppose to be critical (cause that is, ofc, boosting ego), but only to be full of admiration and to applaud. I don't think so. And I never said I do sing well. Far from it, as I am not a professional singer. As she is, if I am not mistaken.

[@annewiklarssen1365]

@@Calogeropoulos If singers are sick or for other reasons need to cancel a performance, they don't get ANY money at all. Instead, most singers choose to, or in many cases are forced to, sing the performance anyway, because the entire show depends upon their presence. Finding a replacement on short notice is oftentimes not possible or too expensive for the opera house. In those cases, the singer goes on stage, and while they might succeed, they may also deliver a performance they for good reason are not happy with. You are correct; they won't be fired immediately (although sometimes this happens as well), but they are not invited back to the house, and they might get a damaged reputation leading to several cancellations and missed work opportunities in the future. They must also deal with bad press, rumours and backlash from people like yourself who intentionally write nasty comments on social media for no particular reason other than to create harm. Yes, professional singers are indeed professional, and they must face the reality of the world we live in where people are opinionated for better or for worse. They put themselves in the spotlight knowing that some are going to love them, others might dislike them. But seriously, do you think it is funny to post public comments like yours with such harmful personal criticism? If you didn't like the show, or her performance, don't go back to see it. Don't applaud it. Tell your close friends you didn't enjoy your night out. Don't pay to hear her voice again if it doesn't suit your taste. But don't show up on youtube making tasteless and hurtful comments like this one. Don't make a fool out of yourself by being a bully. If you are to be truly opinionated of the arts, at least have the balls and the wordly skills to give constructive criticism. This way of commenting, my friend, is just flat out disrespectful.

[@ryanlock2u]

And what the hell do you know, exactly? It’s always the amateurs who have the most to say.

[@Calogeropoulos]

@@ryanlock2u So, according to you, because I am an amateur, am I am only allowed to pay really expensive tickets, and aplaud enthusiastically? That is, lightly saying, absurd.

[@tobitobor]