The collection of classical pieces by Mozart, beneficial for the child's perception. Performed by Berlin Radio Symphony Orchestra, the Vienna Orchestra, Chamber Orchestra and others.
Premiered not very successfully, in Prague on September 6th 1791, La Clemenza di Tito had turned into a considerable triumph within a month and was the first Mozart opera to be heard in London in 1806. The opera celebrates one man’s wisdom and regal benevolence and his struggle to maintain clemency no matter what the provocation. Vitellia, daughter of the deposed Emperor, believes the title of Empress to be hers by right of birth. Despite her love for Tito she seeks revenge when he plans to marry another. A dreadful conspiracy begins to unfold where passion overrides loyalty, and integrity is tested to the extreme. For his last opera, written for the coronation of Leopold II as King of Bohemia in 1791, Mozart used a formal opera seria libretto, but at its heart are intimate scenes of intense emotional conflicts.
While Kiri Te Kanawa was still preparing for that career-defining debut as the Countess in Le nozze di Figaro, she made her first Mozart disc under Colin Davis: a collection of sacred music, including the Solemn Vespers, KV 339, with its serene setting of ‘Laudate Dominum’, and Exsultate, jubilate. The Countess became the singer’s calling-card, and she repeated the role immediately in San Francisco and at Glyndebourne. The thwarted Donna Elvira in Don Giovanni followed, again under Davis at Covent Garden, before Kiri took her Countess to the Met in New York in February 1976, and sang her first Fiordiligi in Paris, in a production by Jean-Pierre Ponnelle. The Paris Opera was also the location of Kiri’s debut as Pamina in Die Zauberflöte in 1977. Her leap into superstardom came when she sang at the wedding of Prince Charles and Diana in July 1981…
Phonics 4 Babies Where Little Minds Grow Big! Join Mallory Lewis Emmy Award® winning performer and daughter of the legendary Shari Lewis (Lamb Chop) as she introduces your child to the first 300 key words and phrases which will be a springboard for all speech.
If you need an introduction to Mozart, this starting point remains unmatched. While not my first Mozart, this collection was the first CD i owned. The purchase has never been regretted. Indeed, it maintains a pride of place in my shelves.
Brendel's performance throughout this series is impeccable. He delves into Mozart's music as if he'd been sitting in a salon with Mozart reviewing the composition. There is a strong sense of time and place in all the renditions of the master's expressive genius. Brendel has avoided the trap of "updating" the performance to some 20th Century idea of how they should be rendered. Brendel brings a sense of the delicacy to his performances without losing an iota of the power behind Mozart's compositions. Brendel seems to impart Mozart's evolving maturity as he recaptures the fourteen year duration over which these pieces were composed. Mozart would hear his music with pride were he here to enjoy Brendel's recreations.
The Serenade No. 10 for winds in B-flat major, K. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. The piece was probably composed in 1781 or 1782 and is often known by the subtitle "Gran Partita", though the title is a misspelling and not in Mozart's hand. It consists of seven movements.