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Mozart : Così fan tutte, K. 588 (Live)

Wolfgang Sawallisch

Opera - Released February 16, 2018 | Orfeo

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Mozart: Così fan tutte

René Jacobs

Classical - Released February 26, 1999 | harmonia mundi

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Mozart: Cosi fan tutte

Sir Colin Davis

Classical - Released October 26, 2010 | Opus Arte

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Mozart: En harmonie

Zefiro

Classical - Released March 11, 2014 | Arcana

Booklet
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Mozart Concertante

Aleksandra Kurzak

Opera - Released October 22, 2021 | Aparté

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The Polish soprano Aleksandra Kurzak needs no introduction. After having dazzled the opera stage and the discographic world both in duets and solo, she has devoted the whole of her new recording to Mozart. From The Magic Flute to Zaide, Mitridate and La Clemenza di Tito, the soprano embraces with equal talent the most famous arias of the master of Salzburg… and the verve of her concert presence. Far from limiting herself to just the lyrical attractiveness, she reveals its depth and brilliance by exploring the richness of the dialogue between voice and instruments: the brilliant musicians of the Morphing Chamber Orchestra of Vienna and Aleksandra Kurzak answer to each other, imitate and seek out each other. With them the arias of Mozart become the setting for a theatrical performance that is intimate, droll, and incredibly lively, in which the instruments have their own role to play in the unfolding drama. As an echo to this is added the Sinfonia concertante, for violin, viola and orchestra, one of the composer’s masterpieces in the genre, featuring the international soloists Yuuki Wong and Tomasz Wabnic. © Aparté
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Mozart: Piano Concertos Vol. 8

Jean-Efflam Bavouzet

Concertos - Released October 6, 2023 | Chandos

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With this 2023 release, the cycle of Mozart's mature piano concertos by pianist Jean-Efflam Bavouzet, with the Manchester Camerata under conductor Gabor Takács-Nagy, reaches its end. The series, with a modern piano but an economical approach that shows some influence from the historical performance movement, has found both critical and popular success, and this finale will not disappoint. Bavouzet is a technically clean pianist who can impress with the elegance of any given phrase, but what strikes the listener considering his Mozart work as a whole is the way he approaches each piece as an individual. His Mozart is entirely different from his Haydn, as revealed in a long series of fine piano sonata recordings, and he is very sensitive to the development of Mozart's style, capturing subtle interaction between piano and winds in the big middle-period concertos and backing off to a simpler melodicism in these late ones. In the Piano Concerto No. 26 in D major, K. 537 ("Coronation"), he prepares his own version of the incompletely notated left-hand part, and he adds some light ornamentation to the rather bare, slow movement. Bavouzet's Mozart albums have included overtures from the period of the concertos involved, and here, one gets no fewer than three from the last three Mozart operas. Takács-Nagy integrates these with the concertos beautifully, and the program as a whole has a satisfying effect that brings to mind Mozart's remark about the connoisseurs and the amateurs; the album can be appreciated at multiple levels. Chandos' engineering work at the Stoller Hall in Manchester is once again exemplary. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Mozart: Così fan tutte (Highlights)

Teodor Currentzis

Classical - Released October 9, 2015 | Sony Classical

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You may have heard about the radical Mozart performances coming out of the provincial city of Perm, Russia, led by conductor Teodor Currentzis. He's in the middle of a cycle of Mozart's operas with libretti by Lorenzo da Ponte, with a sure-to-be-explosive Don Giovanni yet to come as of late 2015. This single-album set of excerpts from Currentzis' reading of Così fan tutte has sold well out of the blocks, perhaps to listeners curious to hear what the fuss is about, but unwilling to invest in an entire box set. With only snatches of recitative and transition, you miss the outrageous continuo group of fortepiano, lute, cello/gamba, and, yes, hurdy-gurdy. That's a major omission, but all the other aspects of the full opera, and of Currentzis' gleeful disregard for convention, are amply represented. Consider the garish tempo contrasts, with the blistering overture pushed right up to the boundary of playability, while soon after that in Act One the trio "Soave sia il vento" is glacial. That number is one of the many places where it's apparent that soprano Simone Kermes, as Fiordiligi, is perhaps Currentzis' ideal collaborator, able to cope with extravagant musical demands, to deliver fresh characterizations, and generally to enter into the spirit of the thing and make you believe that maybe, just maybe, everybody will be performing Mozart this way in 30 years. In general the characterizations are strong and appealing; Currentzis may be a wild man, but he does not unduly draw attention to himself. And the work of his hand-built Musicaeterna, his historical-instruments group in Perm, is sharp as a tack here: it's an ensemble that can react to all of this conductor's demands. You may get a shock from this, but it's a good kind of shock, and the excerpt album can be generally recommended.© TiVo
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Wolfgang Amadeus Mozart : La finta giardiniera

René Jacobs

Full Operas - Released October 9, 2012 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Disque de la semaine France Musique - Choc de Classica
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Walter Conducts Mozart

Bruno Walter

Classical - Released November 1, 2019 | Sony Classical

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Leontyne Price - In Concert at the Met

Leontyne Price

Vocal Recitals - Released January 1, 1983 | RCA Red Seal

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Mozart: Così fan tutte, K. 588

Margaret Price

Classical - Released June 4, 2012 | Warner Classics

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Mozart: Così fan tutte

Miah Persson

Classical - Released August 26, 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 4F de Télérama
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Monteverdi: Concerto. Settimo libro de' madrigali

Rinaldo Alessandrini

Classical - Released November 18, 2022 | naïve

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At the turn of the seventeenth century, the madrigal migrated from the seclusion of private rooms to the theatre. With this came new expectations in order to create a greater spectacle for viewers. Among them was the demand for increased dramatic expressiveness.Monteverdi's Seventh Book of Madrigals (1619) was written when the composer had settled in Venice. He finally enjoyed complete freedom directing the Cappella Marciana, the choir of St Mark's Basilica in Venice. This, combined with the artistic vivacity that runs through the City of the Doges provides a libretto that is fascinating in its polyphonic explorations and written complexity. This is a stark contrast to the Sixth Book, published five years earlier. The quest for a perfect, almost physical equivalence between the text and the music has led to instrumentation that serves as an ideal setting for the vocals.Always at the top of their game, Rinaldo Alessandrini and the Concerto Italiano beautifully perform this music sparkling with purity and beauty. Soprano Monica Piccinini’s ethereal tone particularly stands out. Her voice is truly indispensable to the ensemble's productions. © Pierre Lamy/Qobuz
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Mozart: Overtures

Die Kölner Akademie

Classical - Released January 19, 2024 | BIS

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The Kölner Akademie and its conductor, Michael Alexander Willens, have sometimes used historical instruments. Here, the instruments seem to be modern, but the approach is still that of the historical performance movement, with crisp attacks and generally brisk tempos. Willens' textures are transparent enough to bring out inner counterpoint but not, as in so many historically oriented performances, enough so to shortchange the strings. Some of these pieces, of course, are among the most familiar Mozart pieces, and indeed the most familiar in the entire classical repertory; listeners wanting to hear the overture to Le nozze di Figaro, K. 492, will find a rapid but graceful reading here. However, this is also a generous selection of overtures, and a close focus on the early Mitridate, re di Ponto, K. 87, composed when Mozart was 14, reveals its striking ambition and the speed with which Mozart was absorbing influence from his older composer friend, Josef Mysliveček. One might even ask why Willens did not include the overtures to some of the other earlier Mozart pieces, inasmuch as the album clocks in at only 62 minutes. In some cases, there is a question as to whether a work should be classified as an opera, but the overture to Bastien und Bastienne, K. 50, which seems known to Beethoven as he was composing the "Eroica" Symphony, has its charms. In any event, the album was cleanly recorded by the BIS label at Cologne Radio, and it provides a peppy hour of Mozart for anyone. It landed on classical best-seller charts in early 2024.© James Manheim /TiVo
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W. A. Mozart : Cosi fan tutte

Elisabeth Schwarzkopf

Opera - Released January 1, 1963 | Warner Classics

Booklet Distinctions Diapason d'or - The Qobuz Ideal Discography
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Mozart: Così fan tutte

Sir Neville Marriner

Classical - Released January 1, 1990 | Decca Music Group Ltd.

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Mozart: Opera Overtures

Sir Neville Marriner

Classical - Released January 1, 1991 | Warner Classics

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Cosi fan tutte

Hans Rosbaud

Classical - Released January 1, 1993 | INA Mémoire vive

Distinctions 4F de Télérama
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Mozart: Così fan tutte

Teodor Currentzis

Classical - Released November 14, 2014 | Sony Classical

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Greco-Russian conductor Teodor Currentzis had caused quite a controversy in the operatic world. Settling in the provincial city of Perm, he formed a historical-instrument (although hardly a historical-performance) group called MusicAeterna and shaped it to reflect his unique musical visions. This release is one of a group of three devoted to Mozart's operas with libretti by Lorenzo da Ponte, whom Currentzis regards as a kind of revolutionary comparable to the most outrageous figures in rock music, and his reading of Così fan tutte is explicitly rock-influenced. This doesn't mean that there are guitars or electric instruments, but listen to some of the overture for an idea: blazing speed, slashing attacks that include bow noise from the strings, and a heavy continuo in the recitatives that at times includes a hurdy-gurdy. Plainly there is no historical evidence for such a practice, and it's safe to say that Currentzis' reading is not the music Mozart heard in his head. There are some pretty well-known singers on this release, including soprano Simone Kermes as Fiordiligi, but they function pretty much as cogs in Currentzis' machinery. The recitatives have a fascinating skittery quality, and when Currentzis does let up on the hell-for-leather intensity, he creates beautifully delicate slow arias. Opinions, both critical and audience-formed, on Currentzis are sharply polarized, and this release will do nothing to change that situation. His backers include the executive staff at Sony Classical, who provide a luxurious hardbound book with libretto of the kind previously only seen on labels that get government support, and sprang for a studio recording in Russia (the edgy sound is well-matched to the concept). Listener reactions to this are necessarily going to be highly subjective, but note that this recording has one trait common to many paradigm-shifting performances: the players seem to be having a great deal of fun, even if (or perhaps because) they probably had to unlearn everything they had been trained in so that they could follow their conductor's instructions.© TiVo