The shorter pieces, enterprisingly chosen, set off the great works admirably. This involves placing ''Dove sono'' before, instead of after, the sextet. It is a commentary on the times, on the astuteness of the casting here and on the capacity of a strong conductor to make the whole so much more than the sum of its parts that this version can stand comparison with any, not only for its grasp of the drama but also for the quality of its singing. The recording is reasonably well balanced. Mozart: Symphonies Nos. He has his singers include a lot of appoggiaturas, but not with much consistency (though without the wanton promiscuity of the advice in the New Mozart Edition score): sometimes a phrase and its response are treated differently. All repeats are made‚ including those on the Minuet’s da capo in K499. Throughout this scene, Gardiner’s penchant for sharp accents is wholly appropriate; elsewhere he’s sometimes rather too insistent. Included are Arbace's second aria, Elettra's ''D'Oreste e d'Aiace'' and Idomeneo's ''Torna la pace''. It is a sure sign of the greatness of Mozart’s music that it has proved so ripe for re-interpretation and discovery by every generation of musicians for 250 years. Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. Once or twice her intonation seems marginally under stress but that is the price one pays for singing with so little vibrato, and it's worth it. The enterprise acquires a certain internationalism from the use of Jaap Schroder, the Dutch violinist, to lead the orchestra (and in fact to direct it jointly with the harpsichordist, Christopher Hogwood), and from the use of Neal Zaslaw, a professor of music at Cornell University, as musicological consultant, to advise on such matters as editions and texts, the proper forces to use for the most authentic realization of each symphony, and the physical disposition of those forces (over which contemporary practices were followed: it may not have much direct effect on the sound one hears, except in such obvious matters as having first and second violins on opposite sides, but it certainly affects the way the performers interrelate while playing). Not only does one hear the notes with more transparency than on a modern instrument but one also gets a stronger sense of Mozart’s larger world. Thomas Allen conveys, by voice alone the saturnine quality of his Giovanni, even without the help of his leering, daemonic portrayal. Label: The Franklin Mint Record Society - FM1001 - FM1100 • Series: The 100 Greatest Recordings Of All Time • Format: 100x, Vinyl LP, Stereo, Mono Red Vinyl50x, Box Set Compilation, Deluxe Edition • Country: US • Genre: Classical • Style: Baroque, Classical, Romantic, Impressionist, Modern Nalen Anthoni (November 2011). Mark Pullinger (April 2017). Mozart: The Great Piano Concertos, Vol. Having begun this review in grudging mode, I’ll end in the hope that these delightful, inventive performances presage a complete series of Mozart’s mature violin sonatas, with or without a smattering of childhood works. Well, I don't know if I'd go that far; but it is extremely difficult to choose between this and the Davis performance on Philips for non-stop momentum born of deep understanding of the musical expression of character and dramatic motivation. Donna Elvira is tormented and slightly unhinged, allowing touches of bluster into her coloratura, whereas Zerlina is all sweetness and innocence, demonstrating plenty of agility in the closing phrases of ‘Batti, batti’, which is taken at a sprightly pace. ‘Every phrase tingles,’ I jotted down frivolously as I listened to the opening Allegro of the G major Sonata, K301, truly con spirito, as Mozart asks, and combining a subtle flexibility with an impish glee in the buffo repartee. Unlike many recordings, this performance of Mozart's Requiem is well defined and clean like a svelte athlete - not an overly produced, heavily orchestrated, reverb mess. All this thoroughness of approach would be of little avail were the performance in any way inadequate, but Gardiner's reading is in almost every respect profoundly satisfying. An interesting and worthwhile experiment even if it does not quite work. When Papageno checks Pamina’s identity on the basis of her portrait, the fortepiano duly paraphrases the opening of Tamino’s Portrait aria. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. The Quatour Ebène trust Mozart’s directive; and Otto Jahn’s belief that this dusky movement is also an ‘affecting expression of melancholy’ makes sense at this pace. The Rondos aren't just spirited, buoyant, infectious and smiling, although they're all these things, but they have the kind of natural flow that Beecham gave to Mozart. The Danish National Choir is disciplined and resonant; the prominent brass during the tumultuous “Qual nuovo terrore” is thrilling and the entire scene culminating in “Oh voto tremendo” is hair-raising. The period woodwind, led by the virginal solo flute, are especially delectable in the serenading G major variation. This work has a stately expansiveness that only switches to a militaristic snap in the first movement of the Serenade, percussion now lending point both to a regal Allegro maestoso and, leading from it, a fiery alla breve Allegro molto. While admiring the flux of intensities, dynamics, shapes and colours he sets before you in the Rondo, I wondered three-quarters of the way through whether the totality was going to achieve enough weight. The beginning of the opera sets your spine tingling with theatrical expectation. Schwarzkopf's Elvira, together with the orchestral playing, is the glory of this Don Giovanni. But as his performance of the Alla turca Sonata, K331, shows, technique isn’t allowed to edge ahead of emotional and intellectual depth. Those who specially relish a Karajan or a Solti will hardly recognise the work, with its strongly wind-biased orchestral balance: you simply do not hear the violins as the ‘main line’ of the music. This is a cast dominated, as much as was its live Glyndebourne predecessor, by its protagonist. More crucially, Jacobs restores virtually every word of Schikaneder’s dialogue (hence the need for three CDs), sometimes eliding speech with music, as when Papageno’s opening song begins under the final words of Tamino’s monologue. On the evidence of this first release, I am inclined to greet the venture with enthusiasm and delight. Stephen Plaistow (June 2005), Carolyn Sampson (soprano), Olivia Vermeulen (alto), Makoto Sakurada (tenor), Christian Immler (bass) Bach Collegium Japan / Masaaki Suzuki. Listen to extracts from each of the recordings in our 'Mozart: Great Recordings' playlist on Apple Music. It becomes a subtle aspect of a range of expression Pienaar uses to penetrate music “very rich in activity, rich in personality and topoi”. On those occasions Gardiner experimented with mixtures of the various plausible arrangements of the existing music. Experiments with alternative tuning – I’m thinking of Peter Serkin playing late Beethoven – can be colouristic revelations, which is also true of Bezuidenhout. The balance among the men is affected by the casting of Figaro with a weightier singer than the Count. The Danish Radio Sinfonietta play with an ideal balance between lean rhythmic articulation and shapely melodic phrasing. It’s difficult not to feel that the original is more effective, since the music seems to sit a little uncomfortably on string instruments. Clear but velvety ringing tone, perfect voicing of chords, unsleeping alertness to the necessary subtleties of rubato and line, and above all an ability to realise this music’s intimate poetry that can make you catch your breath, make these performances the kind that any musician should listen to and learn from. Thus there are no timpani; and certainly no cellos, because there were aristocratic guests (the bride’s father had been burgomaster of Salzburg), so lowly musicians couldn’t sit while they stood. He is partnered by Dorothea Röschmann, who has already appeared as Pamina at Covent Garden, and in many other houses. Apart from the clear‚ rich sound of the period instruments and the precise‚ beautiful tuning‚ what impresses about this Mozart playing is the care for detail‚ the way each phrase is shaped so as to fit perfectly into context while having its own expressive nuances brought out clearly. Watch Uchida in action on YouTube as she performs and conducts Mozart's Piano Concerto No. Watch Uchida in action on YouTube as she performs and conducts Mozart's Piano Concerto No. Her unique perspective and interpretation of Mozart's music is exciting and refreshing. Levin’s are longer, cleverer and more consciously showy. The recordings have been well transferred, and Grumiaux’s tone, in particular, is a delight to the ear. Jacobs, predictably, can both illuminate and infuriate. 35, 40, 41 - George Szell. Her control and lyricism is bar none. To my mind, the Britten disc is a revelation. The high and low roles are well catered for. If I am commenting more on characterization than on actual singing as such, that is because this is so much more a realization of the work than simply a performance of its music. Don't worry, I've got you covered. Dorothea Röschmann’s Countess is an unusually active, passionate woman, and her voice, which a few years ago would have been a natural Susanna, has filled out suprisingly. Presiding in the pit is Pappano, sure of touch, and on stage, Erwin Schrott, a god’s-gift Figaro; he and his Susanna, Miah Persson, must be the handsomest pair in the world of opera. Robin Golding (March 1984), Sols incl Elizabeth Schwarzkopf, Christa Ludwig, Giuseppe Taddei; Philharmonia Orchestra / Karl Böhm. In the booklet accompanying this issue, Arabella Steinbacher writes: ‘These concertos have been with me since early childhood…I feel they are very close to my heart.’ Anybody tempted to dismiss this as a marketing ploy will soon change their minds on listening to these performances – they really do give the impression of a project backed by an unusual degree of sympathetic understanding. With Christie going all the way with her, musically speaking, ‘Traurigkeit’ itself is heart-rending in its G minor sorrowing, ‘Martern aller Arten’ the epitome of determined defiance and resolution. Neither does Pentatone’s production, which keeps the perspectives steady (for example, the violin is properly balanced with the ensemble and not pulled forward for the cadenzas). It's a pity to be unable to be equally enthusiastic about the recorded sound. The Three Ladies veer between speech and a kind of Sprechgesang, the “altes Weib” sings a grotesque snatch of Ländler before morphing into Papagena. The lighter voices of Sine Bundgaard and Lisa Larsson suit the roles of Arbate and Ismene perfectly, and Anders J Dahlin neatly dispatches the small role of the Roman tribune Marzio. Paradoxically, Butt’s fidelity to the minutiae of the score allows him the freedom to shape a performance of remarkable cumulative intensity, so that the drama initiated in the driving ‘Dies irae’ reaches a climax and catharsis in the ‘Lacrimosa’ and is recalled in the turbulent Agnus Dei.
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