Franciscus (30 October 1934 – 13 August 2014) was a Dutch conductor, recorder player and baroque flautist.
This is the fourth instalment in Deutsche Grammophon’s new Mozart cycle. In the end this will encompass the seven great operas, from Idomeneo forwards. I haven’t heard the previous three, but from the reviews I have seen the reception has been rather mixed. Concerning this latest issue I am also in two minds. The problem, as I see it, is that Nézet-Séguin hasn’t quite decided what he is up to. He has the excellent Chamber Orchestra of Europe at his disposal.
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.
Mozart’s Le nozze di Figaro is an unforgettable opera about love, desire and the primal force of uncontrollable passion. Concluding the Salzburg Festival’s highly successful Mozart / Da Ponte cycle, director Sven-Eric Bechtolf sets this emotional tour de force in a stately English country house during the 1920s. The renowned Vienna Philharmonic ensures an exceptional evening of music from Mozart’s birthplace. “Everything about the show exuded immediacy and naturalness: the intriguingly updated production by the director Sven-Eric Bechtolf; the winning performances of a compelling cast; and the supple, glowing playing that the conductor Dan Ettinger drew from the Vienna Philharmonic…”. (The New York Times)
This disc of Mozart's opera arias manages to capture the perfection of Kathleen Battle's first disc of Mozart concert arias conducted under Previn. We are accorded the opportunity and privilege to hear Ms. Battle essay characters that she never did in the opera house, Constanze, Cherubino, and the Countess among them. In "Porgi amor," the CD's opening track, she negotiates the long passages of the Countess' aria with seeming ease. Hers is a smaller voice than we are used to hearing in the role but this is unimportant as her vocal acting is superb, bringing the heartache housed in the libretto fully to life…By M. Bish
Giorgio Strehler was one of Europe’s most celebrated theatre directors. In his Piccolo Teatro in Milan he created outstanding interpretations of Bertolt Brecht and William Shakespeare. As an opera director he worked at all the major international opera houses, most notably the Teatro alla Scala, Milan, where he was responsible for productions of Verdi’s Simon Boccanegra (1971), Macbeth (1975) and in 1980 for Wolfgang Amadeus Mozart’s Le Nozze di Figaro. This legendary production of Mozart’s masterpiece is now available as a 2006 recording, featuring the wonderful Diana Damrau as Susanna and Ildebrando D’Arcangelo as Figaro.
This memorable recording from the Staatsoper Unter den Linden in Berlin was Arthaus Musik’s first official release in 2000. It features one of the most popular Mozart operas, „Le Nozze di Figaro“, a witty satire on the authority of the reigning noble class and infidelity in love relationships. Starring a great cast of singers with Dorothea Röschmann, René Pape, Emily Magee and Peter Schreier – to name but a few – this performance is conducted by Daniel Barenboim, chief conductor of the Berlin State Orchestra since 1992 named conductor for life by the orchestra in 2000.
It is an oft-repeated saw, about life in the heavenly spheres, that the angels revere Bach but listen to Mozart. If they have DVD players, you can bet they're now watching this stunning production of Le Nozze di Figaro ("The Marriage of Figaro"), which comes about as close to Mozartian perfection as one could possibly hope to get. The faultlessly cast youthful performers bubble with infectious energy. Alison Hagley is a sprightly Susanna with a voice as clear as a bell, and brilliantly matched by a 28-year-old Bryn Terfel both acting and sounding in fine form. Hillevi Martinpelto demonstrates why she is one of the world's favourite Mozart singers with her melting tones, richly coloured voice and generous stage presence, and Rodney Gilfry gives a muscular, wonderfully controlled performance as the Count.