In the early 1990s Daniel Barenboim recorded the three Da Ponte operas with the Berlin Philharmonic. The BPO had played "Figaro" and "Don Giovanni" many times, but this was the first time that the group had ever tackled "Cosi fan tutte." Perhaps that is why they sound so fresh and energized under the thoughtful baton of Barenboim. Mozart's operas are usually performed with a small chamber or opera house orchestra, but this time the score of "Cosi" (which has so many beautiful, subtle touches, and is almost a celebration of beauty itself) is given the full treatment of perhaps the greatest orchestra in the world. While the resulting sound is somewhat "bigger" and more "lush" than is usual, Barenboim does manage to keep things appropriately light and "classical," just as he has so successfully done in the piano concertos which he is recording with the BPO.
The Grammy award-winning pianist Daniel Barenboim, long known for his Mozart interpretations, turns his attention to Mozart's last 8 piano concertos. The music of Mozart has quite literally been an essential driving force of Daniel Barenboim’s entire life. It remains central to his performing career both as a pianist and as a conductor. These illuminating performances of Mozart’s last eight great piano concertos admirably demonstrate Barenboim’s dictum that even when a true musician has already performed a familiar work hundreds of times, he or she ‘never accepts that the next note will be played the same way as it was played before.’
"…In short, this CD is a delight from begin to end. It will make you want to see and hear the two pieces performed live because only then can one fully enjoy the virtuosic playfulness and beauty of the musical interchange between the two pianos in the Concerto in E flat major; not to mention the pure divertimento of the Concerto in F major, which is a recreational, uplifting and entertaining." ~musicweb-international
This might just be one of the most intriguing of all of the Mozart multi-pianos concertos on record. Here we have a rare collaboration not found on any other recording between George Solti and Daniel Barenboim, where the two conductors face each other playing the concerto for two pianos K.365; the conducting of the English Camber Orchestra from the piano on this Decca recording is at the hands of George Solti.
This was to be the end of the line for Italian word-setting by Viennese composers: once the confident sentiments that belonged to the poet Metastasio's opera seria felt the chill and threatening wind of Enlightenment and Revolution, their time was up. Even we, for the most part, prefer to remember the German-speaking Beethoven, Schubert and Haydn. So it is good to be reminded of their responses to the Italian muse (usually as part of their craft-learning student work) in this particularly well-cast recital. Central Europe, in the person of Andras Schiff meets Italy, in Cecilia Bartoli, to delightful, often revelatory effect.
After the success of Così fan tutte and The Marriage of Figaro, René Jacobs' CD recording of this centrepiece of the Mozart/Da Ponte trilogy offered us his reflections on Classical opera and garnered serious acclaim worldwide. Performed at the Innsbruck festival in August 2006 and filmed in Baden-Baden, this production is nourished by his thoughts on Don Giovanni as taboo-breaker but still respects Mozart's intentions as closely as possible.
In the documentary Looking for Don Giovanni, the director Nayo Titzin follows the creation of this production in the search for musical truth.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.