Mozart: Die Zauberflöte - Claudio Abbado (Deutsche Grammophon)

In bringing together a cast of largely young singers and the Mahler Chamber Orchestra, Abbado seems to have found the mysterious aura that this opera needs - through youth. For too long, the opera has been connected with Mozart's death, and in consequence it's often bogged down by over-reverential tempi and a mood of darkness.

Instead, Abbado brings out the contrast of light and dark, in terms of key and orchestration. The polar opposites of Tamino and Pamina (the aristocratic, opera seria, serious characters) and Papageno and Papagena (the servant, opera buffa, comic characters) have rarely been so well pronounced as here. Furthermore, the conflict of the Queen of the Night and Sarastro seems far more dangerous than is usually the case, partly because the singers are so fabulous.

Erika Miklósa shows versatility as the queen in a way that is unusual: she brings out a lyric side to 'O zittre nicht' without losing the coloratura, and 'Der Hölle rache' is fiery as well as a showcase for the voice. Abbado keeps the pace moving in Sarastro's 'O Isis and Osiris', responding to the beauties of René Pape's voice; it's a relief to be spared the usual decrepit basses that most opera houses employ for the role. That's not to say that he lacks gravitas – on the contrary, this is an authoritative performance that nevertheless finds new nuances in this familiar music.

Talking of nuance, Abbado has freshened up the score by consulting the manuscript, with an important change to the introduction of the duet for Papageno and Pamina, 'Bei Männern'; gone is the distinctive clarinet part that is normally associated with Mozart's late style. Textual discrepancies aside, the duet gets a superb performance from Dorothea Röschmann as Pamina and Hanno Müller-Brachmann as the bird-catcher, Papageno.

Röschmann is rapidly becoming the soprano of choice in the lead Mozart roles, and this record cements her reputation. A creamy tone and easy phrasing makes 'Ach, ich fühl's' a highlight of the set. Müller-Brachmann is very far from being the usual bumbling jester as Papageno. Instead, an element of the fantastical about the character is brought out, which makes him far more interesting and even a little dangerous, and his arias are sung with elegance.

Christoph Stehl is a lyrical Tamino, and 'Wie stark ist nicht dein Zauberton' is phrased with a sense of the magic of the titular flute. Julia Kleitler makes the most of Papagena's small part, and Kurt Azesberger brings more of the wicked than the comic to the part of Monostatos. The three ladies and the three boys also make excellent contributions, demonstrating a tight ensemble with a common purpose.

Neither too heavy nor too light, Abbado's reading is atmospheric and dramatic. The orchestra is exceptionally talented, with lucid string playing, pert brass and sublime winds.

Currently available at a special, low price, this is a recording to enjoy time and again. Lucky are the few who have tickets to the staged performances that Abbado is bringing to the Edinburgh Festival in the summer!

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