This album of Mozart opera overtures will certainly delight the Mozart fan, as performed by La Cetra Barockorchester Basel under the baton of Andrea Marcon. This is indeed an orchestra that understands Mozart; the musicians utilize excellent technique and solid musicianship that respects Mozart's phrasing and dynamics. Apollo et Hyacinthus is sweet, light, and almost Baroque in character, as is La finta semplice, therefore these pieces are fitting for a Baroque orchestra.
The history of the Russian chamber ensemble of the middle of the 20th century, in all possibility, did not know a more intricate yet remarkable brilliant group of musicians than the celebrated trio of Emil Gilels. Leonid Kogan and Mstislav Rostropovich. All to different in their essence were these three artistic individualities – these three virtuosos, spoilt children of fortune, who were brought together at various stages of disclosure of their outstanding talents. At that, there was not a great difference between their respective ages – Gilels was born in 1916, Kogan was born in 1924 and Rostropovich was born in 1927. Nonetheless, whereas Gilels was already able to reconsider and revise in many ways his principles of work, departing further and further from a pure demonstration of capabilities of his breathtaking technique, Rostropovich and Kogan were still passing through their lengthy period of thrill over their virtuosic powers, affecting their audiences in a straightforward manner.
Mozart?s concerto actually began life as a concerto for basset horn (not basset clarinet) and was written in the key of G. The manuscript ended abruptly after the 191st measure of the first movement. Mozart rethought his plan, decided to recast the concerto in A, and overhauled the solo part for basset clarinet, an instrument developed by his friend Anton Stadler The version that entered the repertoire after Mozart?s death was an adaptation of the original.
A leader of the movement for historically informed performances, Jos van Immerseel has been active in performances of Renaissance and Baroque music, but he has concentrated on piano music of the Classical and Romantic eras, performing and recording much of the keyboard repertoire on period instruments. This eight-CD box set from Accent contains van Immerseel's recordings from 1979 to 1986, played on a variety of original pianofortes and modern reproductions, and with period instruments in the works for ensembles.
A brilliant specialist in the keyboard works of Johann Sebastian Bach, which she has recorded to great critical acclaim, Angela Hewitt proves herself equally attuned to the music of Wolfgang Amadeus Mozart in this first installment of the complete piano concertos. While beginning with the Piano Concertos No. 6, No. 8, and No. 9 might be an unusual opening gambit, jumping ahead of the earliest and least compelling concertos, they are still youthful works and more than competent examples of Mozart's budding mastery.
Five complete operas by Wolfgang Amadeus Mozart at budget price in one space-saving set, featuring a twenty-four-page booklet with biographies, detailed listings, and historic photos! Exciting live recordings taped 1949–1974. A stunning array of great artists in Mozart’s most beloved operatic works!
“A strong and pleasing voice, in both high and low notes – a combination which one rarely encounters,” ran one contemporary report of Catarina Cavalieri, the soprano who created Konstanze in Die Entführung. Though I’d put it rather less laconically, that verdict holds equally good for Diana Damrau, whose new Mozart recital includes two arias composed for Cavalieri, “Martern aller Arten” and Elvira’s “Mi tradì” (added for the 1788 Viennese revival of Don Giovanni). The glamorous German soprano, now in her mid-thirties, made her international reputation as a sensational Queen of the Night and Zerbinetta.
The glamorous young French coloratura stunned everyone at the EMI Gala at Glyndebourne in 1997 with a dazzling rendition of Cunegonde’s ‘Glitter and be gay’ from Bernstein’s Candide: it was an unexpected choice but Dessay delivered it with such wit, needle-point precision and sheer insouciance that she won all hearts. Why she has yet to appear in either a Glyndebourne or Covent Garden production – though debuts are planned in both theatres for 2002 – is one of the great mysteries of British operatic life, for Dessay, as her EMI album of French operatic arias (5/97) amply demonstrated, is an acclaimed star in Vienna, Salzburg, the New York Met and, of course, the French capital, where she is something close to a cult figure.