The two recordings do indeed follow different editions of the score—and each of them also cuts some passages from the edition it is following.
The Vashegyi recording follows a newly edited score which I haven’t seen. According to the set’s accompanying book (p. 49), this score includes all the surviving music originally composed for the opera in 1813, before the length of the work “was reduced from almost three hours to only an hour and three quarters” the following year. The book also states that Vashegyi’s recording omits or abridges some of the ballets from this score.
Various reviewers of the 1813 production complained that the original score was too long, and reviewers of the new Vashegyi recording have made the same complaint, so the desire to abridge is understandable.
The Maag recording basically appears to follow the standard vocal score prepared in the 1820s (longer than the 1814 version, but still much shorter than 1813). From this score, it cuts two whole numbers—the tiny chorus No. 12 (less than 2 minutes of music) and the final ballet—and also makes some snips within individual numbers. Overall, I’d say that these cuts are proportionately comparable to those in, e.g., the familiar classic recordings of Rossini’s Barber of Seville and Verdi’s Traviata.
Moreover, Maag (recorded live) takes most numbers more quickly and with more dramatic urgency than Vashegyi (recorded in the studio). This also contributes to the disparity in the sets’ timings.
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