Mozart Arias
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart
Genre:
Opera
Label: Decca
Magazine Review Date: 12/1991
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: 430 513-2DH
Tracks:
| Composition | Artist Credit |
|---|---|
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Non so più cosa son |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Voi che sapete |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: ~ |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| Chi sà, chi sà, Qual sia |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| Così fan tutte, Movement: È amore un ladroncello |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| Alma grande e nobil core |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| Don Giovanni, Movement: Vedrai, carino |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| (La) Clemenza di Tito, Movement: Parto, parto, ma tu, ben mio |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| (La) Clemenza di Tito, Movement: Deh per questo istante |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| (La) Clemenza di Tito, Movement: ~ |
Wolfgang Amadeus Mozart, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
| Ch'io mi scordi di te...Non temer, amato bene |
Wolfgang Amadeus Mozart, Composer
András Schiff, Piano Cecilia Bartoli, Mezzo soprano György Fischer, Conductor Vienna Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
Author: hfinch
One more Ch'io mi scordi di te? in this year of Mozartian inundation may well seem one too many. But having listened to this performance by Cecilia Bartoli and Andras Schiff, I turned round and listened once again, then twice more, so delectable was the experience. The pleasure of Bartoli's instinctive marrying of verbal and musical phrase, and the luminosity and drama of Schiff's playing is typical of the delights to be found throughout this recital.
As Cherubino, in ''Non so piu'', it is the energy of the native Italian speaker which pushes the line ahead breathlessly, gurgling with propulsive rolled 'r's, and subtly nuanced into a chiaroscuro of emotions. With the Vienna Chamber Orchestra under Gyorgy Fischer as light yet warm accompanists, Bartoli's ''Voi, che sapete'' is delicately shaded to express tellingly emotion ardently felt yet barely comprehended. Her return in mezza voce at the end of both this and Sesto's ''Deh, per questo istante solo'' is perfectly and magically achieved, Peter Schmidl's basset clarinet and horn grace her ''Parto, parto'' and underscore the suffering she expresses by sharpening her vocal focus as Vitellia.
As Dorabella, Bartoli curls her voice sensuously round the twists and turns of Mozart's melodic line like a true serpentella. Her Zerlina and Susanna are no less artful. A live vocal legato, caressed by slow, purring orchestral tempos, makes the listener feel both the beating of her heart in ''Vedrai, carino'' and sense the stillness and scents of ''Deh, vieni'''s summer night.
Bartoli's instinct for the inner nature of language and for music's heightening of its energies also makes memorable the three concert arias interpolated in her programme. This instinct is expressed in the sensitive coloratura ofChi sa, chi sa (from Il burbero di buon cuore) and in the imperious Alma grande where the the extremes of Bartoli's register chide and chafe in indignation at the ingrate.'
As Cherubino, in ''Non so piu'', it is the energy of the native Italian speaker which pushes the line ahead breathlessly, gurgling with propulsive rolled 'r's, and subtly nuanced into a chiaroscuro of emotions. With the Vienna Chamber Orchestra under Gyorgy Fischer as light yet warm accompanists, Bartoli's ''Voi, che sapete'' is delicately shaded to express tellingly emotion ardently felt yet barely comprehended. Her return in mezza voce at the end of both this and Sesto's ''Deh, per questo istante solo'' is perfectly and magically achieved, Peter Schmidl's basset clarinet and horn grace her ''Parto, parto'' and underscore the suffering she expresses by sharpening her vocal focus as Vitellia.
As Dorabella, Bartoli curls her voice sensuously round the twists and turns of Mozart's melodic line like a true serpentella. Her Zerlina and Susanna are no less artful. A live vocal legato, caressed by slow, purring orchestral tempos, makes the listener feel both the beating of her heart in ''Vedrai, carino'' and sense the stillness and scents of ''Deh, vieni'''s summer night.
Bartoli's instinct for the inner nature of language and for music's heightening of its energies also makes memorable the three concert arias interpolated in her programme. This instinct is expressed in the sensitive coloratura of
Mozart Arias
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