"If anyone has recorded a lovelier Mozart recital in recent years, I've yet to hear it. In her early thirties, Kozená is now consummate mistress of her art. Her liquid high mezzo, with its easy upward extension, combines warmth with the bloom and freshness of youth, while her coloratura, on display in 'Al desio di chi t'adora' . . . is as brilliant and expressive as Bartoli's, yet without the Italian diva's intrusive aspirates . . . Fortepianist Jos van Immerseel is an equally sympathetic partner in an impassioned yet intimate performance . . ." ~Gramophone
Matthias Kirschnereit is one of the leading German pianists of his generation. His international solo career has taken him to five continents. He has very close links to the Bamberg Symphony Orchestra, with whom he is recording Mozart's collected piano concertos for Arte Nova. Kirschnereit's fascination with Mozart's piano concertos dates back to his youth.
With the season 2005/06 Deutsche Grammophon launched its visionary initiative for recording and releasing orchestral concert performances - the DG Concerts series collaborates with some of the best orchestras around the globe, making their most acclaimed concert performances available to music lovers worldwide via digital download.
This is a nearly complete recording of Mozart's solo keyboard music, including an entire disc of small variation sets and the like but omitting the incomplete but fascinating Piano Sonata in F major, K. 533. That work is often completed with the similar-in-spirit Rondo in F major, K. 494, but perhaps that was less settled in 1954, when Lili Kraus made these recordings. It's too bad, because one wonders what her interpretation of K. 533 would have been like – in many of Mozart's sonatas, Kraus creates a sharp differentiation between tuneful music and scalar or arpeggiated passagework, but that highly contrapuntal sonata is in a class by itself and doesn't structurally revolve around that distinction.
40 CD box set featuring concerts, quartets, divertimenti, symphonies, arias, opera scenes, famous overtures, sonatas and so much more.
Set in the exotic seraglio of the Pasha Selim, the story revolves around the rescue of the lovely Constanze by her lover Belmonte – a tale of love, bravery and forgiveness. In this work, Mozart breaks new ground in introducing dramatically rounded characters with recognisably human feelings and weaknesses. The work influenced and changed the nature of opera throughout Europe. This charming production from Drottningholm does full justice to Mozart’s score. Arnold Östman’s deliberate conducting combined with Carl Friedrich Oberle’s design demonstrates that this really is “an eternal masterpiece of music drama by a youthful, exuberant composer who suddenly found his individual voice and style in the field of opera with this particular work” (Opera now)
Die Zauberflöte is the artistic and philosophical testament of Wolfgang Amadeus Mozart, who died a few weeks after the work’s première in Vienna. Intertwining music of awesome purity and beauty with the conventions of the singspiel - a popular form of musical comedy – Mozart’s final operatic legacy to the world explores Man’s search for the truth and his confusion between the forces of dark and light and the final utopian resolution of seemingly irreconcilable elements. Because of the opera’s relationship to freemasonry, commentators have identified Tamino with the Emperor Joseph II, Pamina with the Austrian people, Sarastro with Ignaz von Born, Monostatos with the clergy and the Queen of the Night with the Empress Maria Theresa. Whichever level one approaches Die Zauberflöte on, it remains a great work in the spirit of the Enlightenment as well as a delightful fairy-tale. Nothing is so simple as to be absolutely clear-cut. In life, the serious and the comic often intermingle in a way that is disconcerting. In Die Zauberflöte, Mozart succeeds in combining these two elements in a way which has never been surpassed. The light and vibrant presentation of the Scandinavian cast - internationally renowned bass Lászlo Polgár is the only non-Scandinavian soloists – the authentic staging and the lean orchestra sound conducted by the illustrious Arnold Östman makes this performance definitely one of the best Zauberflöte-performances of the 20th century.
Idomeneo, King of Crete, has been away from home during the long years of the Trojan War. Idamante, his son, now regent of the island, waits for his return, heralded by the arrival of Trojan prisoners in Crete. One of these prisoners is Ilia, daughter of the murdered King Priam of Troy. Idamante has fallen in love with Ilia, but is loved by Electra, daughter of the Greek King, Agamemnon, who is taken refuge in Crete. The Drottningholm Court Theatre is a tiny and exquisite rococo theatre, the only surviving eighteenth-century theatre in Europe in perfectly-preserved working order. The Swedish conductor and musicologist Arnold Östman became the theatre’s director in 1981 and introduced an orchestra of original instruments playing an authentic style to complement the unique atmosphere of his surroundings and he has steadily built up a worldwide reputation for his authentic interpretation of Mozart. This revised revival of the acclaimed 1986 Drottningholm production by Michael Hampe conducted by Arnold Östman, was staged during the Mozart Bicentenary year. Combining both tragedy and comedy with drama, Idomeneo boasts a series of superbly expressive pieces which Einstein described as “one of those works that even a genius of the highest rank, like Mozart, could write only once in his life.”