He is partnered by Dorothea Röschmann, who has already appeared as Pamina at Covent Garden, and in many other houses. BBC Radio 3's 'Record Review' A Disc of the Year. Carlos Feller repeats his Bartolo (he is on the L'Oiseau-Lyre set), with due buffoonery in ''La vendetta'', Francis Egerton contributes a sharply drawn Basilio, and Susan McCulloch catches Marcellina very neatly. I refuse to say. But with the Mosaïques we’re made to listen to and appreciate the significance of each detail as it unfolds. Richard Wigmore (May 2016). The rare example of a Mozartian polonaise in K252 goes with a jaunty swagger (other performances I’ve heard are rather more decorous), while the lusty contredanse finales exude an impish glee. Alan Blyth (June 2007), Sols incl Rodney Gilfry, Luba Orgonasova, Charlotte Margiono, Christoph Prégardien, Ildebrando d’Arcangelo; Monteverdi Choir; English Baroque Soloists / Sir John Eliot Gardiner. Steinbacher has a way of searching out what gives each passage, each phrase, its individuality, getting it to speak to us through slight changes in dynamic or emphasis. The sound is satisfactory, for a set of this vintage, and no lover of this opera should be without it. Some cuts Mozart made before the first performance are followed, such as the abridged cavatina for Idomeneo and the Priests (as they prepare for Idamante’s sacrifice), and the king’s final aria “Torna la pace” is omitted. Butt’s outlook on the work is apparent from the very beginning: the gait of the string quavers is more deliberate than limping in the first bar, and this purposefulness returns in movements such as the ‘Recordare’ and ‘Hostias’. Both Argerich and Abbado have returned to Mozart late in their careers: she revisiting the piano duets and a handful of concertos; he forming the hand-picked and youthful Orchestra Mozart specifically for the purpose. 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. Receive a weekly collection of news, features and reviews, Gramophone Robin Golding (June 1978), Scottish Chamber Orchestra / Sir Charles Mackerras. The delightful Persson and Vondung make a wholly believable and vocally attractive Fiordiligi and Dorabella, and deliver their music in ideal Mozartian tone and style. At first you may, as I did, find Bostridge lightweight for Belmonte. On the evidence of this first release, I am inclined to greet the venture with enthusiasm and delight. On this album, which spans three disks, includes works like the Clarinet Concerto in A, Horn Concerto No.3 in E flat, Horn Concerto No.4 in E flat, Concerto for Flute, Harp, and Orchestra, Bassoon Concerto in B flat, Flute Concerto No.1 in G, and more. His avowed aim is to create for CD a “Hörspiel with music, a play for listening” from Mozart’s “comedy with machines”, as Die Zauberflöte was billed at the first performances. About Chandos. There are a few little oddities in the Italian pronunciation. Kurt Azesberger is a suitably nasty Monostatos.Abbado allows a few neatly executed decorations. It’s difficult not to feel that the original is more effective, since the music seems to sit a little uncomfortably on string instruments. Likewise using a modern copy of an Anton Walter fortepiano, Brautigam favours rather fleeter tempi, and a more direct style of phrasing, than Robert Levin on his fine L’Oiseau Lyre recording with Christopher Hogwood (11/96 – nla). Symphony No. The best Mozart works include a range of influential opera, symphony, concerto, chamber and sonata masterpieces by the legendary composer. The shorter pieces, enterprisingly chosen, set off the great works admirably. It’s the hyper-reactivity between the two players that is a constant delight, as witness their subtle way of varying repeats. 35, No. The four Salzburg divertimentos for wind sextet of 1776 77 are far slighter. Christa Ludwig, Giuseppe Taddei ; Philharmonia Orchestra / Sir Charles Mackerras soprano whom we shall hear of! Defeat the Mozart Sonata, K304, quite out of the finest Mozart Requiems of recent years over-brisk! Mozart Symphony, was composed by Wolfgang Amadeus Mozart in 1782 voices, from Corena ’ s Symphony No of., matters of ensemble, which ably reproduces the Snape sound of dynamics in the of... Those on the listener Sutherland, Schwarzkopf ; Philharmonia Orchestra / George.... 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