This is the second fine Don Giovanni we have had within the past year. Like Gardiner (Archiv), Mackerras includes every note Mozart wrote for both the original Prague version and the Viennese revival. Moreover, it is easier than ever for listeners to ‘programme in’ their preferred version: all Prague die-hards have to do is to bypass Don Ottavio’s ‘Dalla sua pace’ in Act I – a beautiful aria, in all conscience, though it holds up the dramatic action at a crucial stage. By coaxing a modern orchestra into a real awareness of period style, Mackerras seems to have the best of both worlds: the playing has admirable liveliness and intensity, and there are none of the intonation problems that so often plague actual period instruments. Mackerras does use natural trumpets, and their rasping sound lends real bite, not least to the overture’s chilling opening chords. In his introductory essay Mackerras argues that Mozart’s Andantes in ‘cut-time’ (ie two beats to the bar) are often taken too slowly.
Diana Damrau first made her mark as a sensational Queen of the Night – a part she has just relinquished – and has garnered rave reviews in roles such as Konstanze, Zerbinetta and Rossini’s Rosina. One or two other coloratura sopranos today can match her diamantine brilliance and agility, but few, if any, command such fullness in the middle and lower ranges.
The Amadeus Quartet developed a reputation as one of the finest string quartets from the second half of the twentieth century. Its tradition and style were Viennese and its repertory was largely Austro-German: Haydn, Mozart, Beethoven, Schubert, and Brahms were at the core, though it performed works by Smetana, Franck, Bruckner, Bartók, Britten, Tippett, and other twentieth century composers. They also regularly performed quintets and sextets (Mozart, Brahms, Schubert, etc.), usually adding cellist William Pleeth and/or violist Cecil Aronowitz. The Amadeus was one of the longest-lived quartets, performing for 40 years without a personnel change, and it was also among the most popular string quartets in England, Germany, the United States, and parts of Europe. It made numerous recordings – many still available – for several labels, including DG, Decca, and EMI.
MOZART 111 combines the best of the Austrian master's music with the best of Deutsche Grammophon's Mozart recordings, bringing together a total of 111 works, while retaining, as far as possible, the original album releases with their cover art. There's enough of everything here to stock a shop, as they say, in performances that have stood the test of time and performances that make you sit up and listen to Mozart afresh the perfect way to discover, rediscover and savor the incomparable genius of Wolfgang Amadeus Mozart.
Three of Mozart's most popular operas – Le nozze di Figaro, Don Giovanni, and Così fan tutte, conducted by leading opera maestro Riccardo Muti in performances from Vienna and Salzburg, are here available in one set.
Mozart complete! Seven years of work with Mozart’s symphonies come to completion with this monumental release of 45 symphonies, including eight unnumbered youthful works. Strongly influenced by historical performance practice, but with modern instruments and in fantastic sound quality, the Danish National Chamber Orchestra and their Austro-Hungarian chief conductor Adam Fischer make Mozart’s music sound more vital and inventive than ever.
Filmed on location in picturesque Vicenza, Italy, Wolfgang Amadeus Mozart’s operatic masterpiece Don Giovanni is beautifully translated to film by director Joseph Losey (The Servant) and Mozart’s incomparable music is performed by the legendary Paris opera, conducted by Lorin Maazel. Set in Seville in the 1600s, a young nobleman Don Giovanni (Ruggero Raimondi) is well-known philanderer with a long list of amorous conquests.
Nikolaus Harnoncourt presents his reading of “La Finta giardiniera”, a long-forgotten wonderfully tragicomic opera by the young Mozart. Almost a quarter of a century ago Harnoncourt presented his reading of the rediscovered work on CD, but in this version from the Zurich Opera, the great Mozart magician conducted a staged production for the first time, making the premiere an event in itself.
For the sake of both vocal and family well-being, Anne Sofie von Otter has always followed the wise course of self-rationing in opera. This disc, an entirely personal selection of arias from the Viennese Classical period, means all the more to her including, as it does, arias sung by dramatic and passionate women 'most of whom', she admits in the accompanying notes, 'I have never performed on stage and, alas, probably never will'.
With opera arias of Hasse, he has become the shooting star amongst countertenors; Valer Sabadus appeared in Mozart roles for the Styriarte in December 2013.
The Salzburg master wrote for some of the greatest castrati of his time: Rauzzini, Consoli, Bedini. The young interpreter must therefore sing up into the heights of the soprano range; he succeeds in this wonderfully, as he also does in the exploration of profound feelings. His mentor Michael Hofstetter is on the podium, adding the orchestra‘s pulsing Mozartian vitality to this flawlessly beautiful singing.