More on Magic Flute (Salzburg version)

I finally got the second CD of Magic Flute from Netflix. This is Act II and onward. The only Magic Flute I've seen besides this one is the Met shortened version in English last season. The longer version makes a lot more sense and doesn't depend so heavily on the bird man. There is a little trio that Sarastro, Pamina, and Tamino sing toward the end of Act II (before the trials of fire and water) that is exquisite. The trial by fire with everyone's (literally) hair on fire is very dramatic and effective. Wonder how many fire wardens were required offstage. The other thing that's exquisite is the harmony in the finale in the chorus. It's just so triumphant and pulls out all the stops. After about 10 watchings I'm picking up on Sarastro's little attempts to befriend Pamina and her recoiling at his every overture. I've been reading them as 'father/daugher' befriending attempts but that's me reading into it. They could also be lover to lover befriending attempts. There is a lot that is ambiguous about Pape's Sarastro. In the finale the interplay and expressiveness between the Queen of the Night and Sarastro is intriguing. I've decided that Magic Flute is the ultimate child custody drama and in his heart of hearts, Sarastro loves the Queen of the Night.

There's a clip of the finale up at youtube:

Click for "Flute" finale (Salsburg)