This is certainly the most desirable version using modern instruments to appear since Solti’s second recording in 1990. The popular notion that equal temperament reigned exclusively after JS Bach just isn’t true. Jonathan Kent follows up his superb Fairy Queen with a gripping account of what some people consider to be Mozart’s “problem opera”. 40… Both have their good points, and both have first-rate soloists, chorus and orchestra (Barenboim has Sheila Armstrong, Dame Janet Baker, Nicolai Gedda, Dietrich Fischer-Dieskau, the John Alldis Choir and the ECO; Marriner has Ileana Cotrubas, Helen Watts, Robert Tear, John Shirley-Quirk and the ASMF Chorus and ASMF). The Hungarian coloratura Erika Miklósa has been making a speciality of Queen of Night over the past few years and shows just why in a technically secure and fiery account of her two arias. Blend and tuning are of an accuracy all too rarely heard, even in this golden age of British choral singing. Here that problem is largely avoided in a similarly grand acoustic: that, and the fact that the C minor Mass is a far more vocally orientated piece than the Requiem. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat. Instrumentalists often become conductors, and great ones; yet the number of singers who have successfully taken up the baton is remarkably small; but on the evidence of this recording of Mozart's Requiem, the distinguished German tenor Peter Schreier (who was born in 1935) ranks high in that select company. Sylvia McNair sings Ilia's grateful, sensuous music with eager, fresh tone and impeccable phrasing even if she can't claim the warm appeal of Jurinac (Pritchard/EMI). These performances are radiant: if you buy only one Mozart CD this anniversary year, let it be this one. Thomas Allen conveys, by voice alone the saturnine quality of his Giovanni, even without the help of his leering, daemonic portrayal. Like all the best ensembles in this music, they strike a nice balance between chamber-musical refinement and rustic earthiness. There’s no rushing in the confrontations at the end of Act 2 – all is measured and properly argued through. Hagley, the much and justly admired Susanna in the recent Glyndebourne production, offers a reading of spirit and allure. I refuse to say. Here's a fantastic box set of over 230 pieces of Mozart's music. Natural horns lend a welcome abrasiveness to the tuttis; and the instrument’s variegated colours give added piquancy to the horn tune that sails in out of the blue near the end of the first movement. 9 is important: it’s not ‘To the New World’; it’s ‘From’ - this is very much a symphony that looks back, from the USA, to the composers native Bohemia. But I suspect I shall reach for this new recording as often as any, for its bubbling, crackling theatricality and an eager, yet unforced, sense of fun that never short-changes the opera’s central message of human enlightenment. '', for example, and it is pretty alarming too in the Act 2 trio where Susanna is supposedly in the Countess's dressing-room (the Count's battering on the door is included). As with all of Butt’s recordings, however, this Mozart Requiem is something of an event. At the centre is Hilde Gueden, whose Susanna has echoes of operetta, although she remains a true Mozartian stylist. Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and … 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. The Act 4 finale has many good things—note the prominent giggling viola phrase where Figaro at last realizes that the 'Countess' is Susanna in disguise and the apt, unexaggerated but very effective, timing of the denouement: though I wish Gardiner had not risked sentimentalizing the Andante of the Count's plea for forgiveness by taking it so very slowly. Performed by the Monteverdi Choir and the English Baroque Soloists, conductor Sir John Eliot Gardiner creates a nearly flawless rendition of Mozart's Requiem as it would sounded when it was first composed in 1791. First movement, “Allegro maestoso,” of Mozart's Piano Concerto No. Their modes of expression play a crucial role too. Her tone sometimes has a roughish edge to it, which rather impairs the Mask trio, and that may be because the role lies a little high for a voice poised between mezzo and soprano. Often this opening isn’t inward enough and sometimes the tempo is too fast for Allegro moderato. It’s a creature of great changeability, attaining an almost hymnic intensity in the slow movement. Don't worry, I've got you covered. Symphony No. Or perhaps that is a way of saying that they give the kind of performance the camera likes: their energy is creditably youthful and spontaneous, and their facial expressions work largely through eyes and eyebrows. The shorter pieces, enterprisingly chosen, set off the great works admirably. Symphony No. By using LiveAbout, you accept our. Marie McLaughlin sings Marcellina with unusual distinction. Adam Fischer’s series of Mozart’s serious operas turns its attention to Idomeneo (Munich, 1781). However, the set is entirely successful on its own terms – whether or not you want to make comparisons with other favourite recordings. Thus we have the longer, more elaborate ''Fuor del mar'', the shorter of the sacrificial scenes, the briefer of the two brass versions of Neptune's pronouncement and the ballet music. The last string quintets from Mozart’s pen were extraordinary works, and the addition of the second viola seems to have pulled him to still greater heights. David Vickers (June 2010), Sols incl Peterson, Kaappola, Behle; Akademie für Alte Musik Berlin / René Jacobs. The recitative is sung with exemplary care over pacing so that it sounds as it should, like heightened and vivid conversation, often to electrifying effect. The definitive mozart piano concerto recordings I love piano music and have a great collection of Martha Argerich, Krystian Zimerman,Pollini and Horowitz playing Chopin,Lizst etc but I am looking to buy great recordings of Mozarts Piano Concertos and was wondering which artist is best … The BBC Music Magazine awards have given Charles Mackerras disc of the year for his 39th Symphony - … But how to apply that insight with discretion and variety, with humanity but without histrionics, is a rare gift. There is no doubt that the orchestral playing here is unsurpassed. Nick's pick for this week's Must-Have Mozart is a Nonesuch recording (79608) of pianist Richard Goode and the Orpheus Chamber Orchestra, playing Mozart's Piano Concertos No. It has been suggested that Mozart wrote K515 and K516 to show King Friedrich Wilhelm II of Prussia that he was a better composer of string quintets than Boccherini, whom the King had retained as chamber music composer to his court. His own cadenzas are short and to the point. Jacobs, predictably, can both illuminate and infuriate. Get Details. Here is personal involvement that from now on is present in full flower. 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. His other arguments do carry some weight, however, and the revision makes sense, but it is not what Mozart intended and to my ears unbalances the Act by having the sextet too close to the finale. 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