Mozart operas

[Harry]

I am ready to buy some of Mozart operas, if possible authentic performances.
I selected these two from Kuijken licensed by Brilliant. It seems the right thing for me to start.
Anyone know these recordings?

[Florestan]

I have the second one, in a different cover. It's a live recording but the only things you'll hear from the audience are the applauses. As for the performance itself, I like it, but I'm not an opera expert so you should have more opinions.

[Harry]

Found this one too.

[Harry]

I have the second one, in a different cover. It's a live recording but the only things you'll hear from the audience are the applauses. As for the performance itself, I like it, but I'm not an opera expert so you should have more opinions.

Andrei, are the applauses, at the end, or after every solo?

[Florestan]

Andrei, are the applauses, at the end, or after every solo?

At the end of every act only. I believe it's the most well-behaved audience ever recorded.

[Harry]

At the end of every act only. I believe it's the most well-behaved audience ever recorded.

Okay that's good, but I would love to hear your comments regarding, the opera you have! "Cosi Fan Tutte"
Especially the Female parts of course.

[Florestan]

Okay that's good, but I would love to hear your comments regarding, the opera you have! "Cosi Fan Tutte"
Especially the Female parts of course.

As I sad, I'm no expert. Moreover, I have no problem with female voices, nor with vibrato, so my positive opinion is not going to help you much.

Still, I would say that it's a "chamber opera" version. The orchestra is thin and light and I suspect the venue is a small one. The overall effect is that of a bubbly and spicy opera buffa. An interesting rendition, albeit not a spectacular one.

[Harry]

As I sad, I'm no expert. Moreover, I have no problem with female voices, nor with vibrato, so my positive opinion is not going to help you much.

Still, I would say that it's a "chamber opera" version. The orchestra is thin and light and I suspect the venue is a small one. The overall effect is that of a bubbly and spicy opera buffa. An interesting rendition, albeit not a spectacular one.

Looks like my cup of tea then, small scale, bubbly, spicy, hmmmm, not spectacular.
Do you remember the amount of vibrato, geez just give me the essentials about the voices Andre, don't let me pull it out your noise, ( Dutch saying)

[Florestan]

Looks like my cup of tea then, small scale, bubbly, spicy, hmmmm, not spectacular.
Do you remember the amount of vibrato, geez just give me the essentials about the voices Andre, don't let me pull it out your noise, ( Dutch saying)

Look, I'll sample it tonight and give you an answer tomorrow, ok? I don't remember off head right now.

[Harry]

Found this.
Don't be irritated Andrei, I mean well.


Le nozze di Figaro, 'The Marriage of Figaro',K492.
Christiane Oelze sop Susanna ; Patrizia Biccire sop Countess Almaviva ; Béatrice Cramoix sop Marcellina ; Marie Kuijken sop Barbarina ; Monica Groop mez Cherubino ; Yves Saelens ten Don Basilio ; Philip Defrancq ten Don Curzio ; Huub Claessens bar Count Almaviva ; Werner Van Mechelen bass Figaro ; Harry van der Kamp bass Bartolo ; Jean-Guy Devienne bass Antonio

Namur Chamber Choir; (La) Petite Bande/Sigiswald Kuijken


Accent CD     ACC98133/5D (176 minutes : DDD)

Live performance
 



Reviewed: Gramophone 8/1999, Alan Blyth

 
I can do no better than quote Stravinsky's rhetorical question (made, in his case, on hearing a new piece of music): 'Do we need it?' With the catalogue already brimming over with recommendable versions of Mozart's masterpiece, an addition to the ranks must have something special to justify its issue. Neither in terms of conducting nor singing does this one have that advantage though it probably made a pleasant enough evening in the opera house. Kuijken directs a perfectly respectable reading but one missing the dynamism of Gardiner's or the peculiarly intimate and lived-in feeling of the admirable Ostman (which also includes alternatives including Barbara Bonney's enchanting account of Susanna's 'Al desio').
Although it is a live recording it wants the sense of theatrical vitality and tension found in its rivals. La Petite Bande plays with the customary acuity noted in its earlier sets of Mozart's operas but its performance doesn't have either the buoyancy or warmth notable in that of its period-instrument rivals, let alone that in such modern-instrument classics as Erich Kleiber, Giulini and Mackerras, and the recitative is accompanied in the dryest manner possible.

As the members of the cast introduce themselves, one begins to sense a feeling of anonymity similar to that found in the conducting. Christiane Oelze is a fresh, lively Susanna, who sings with a good line and pretty tone, but she isn't vocally or temperamentally quite in the class of Bonney (Ostman) or Alison Hagley (Gardiner), who bring a spirit to their readings not found in Oelze's. Her Figaro, Werner van Mechelen, has an uninteresting, far from steady voice and finds little of the fun or daring in the part evinced by his counterparts. Huub Claessens's Almaviva isn't sufficiently differentiated in timbre from Figaro, nor is his presence as formidable as Hakan Hagegard's on the Ostman version though he always sings with style: his aria is an example of the conductor not giving the music a firm enough profile.

As the Countess, Patrizia Biccire catches the sadness of the character's predicament, and sings her arias with a distinction of tone and style often missing elswhere in this set. Monica Groop's Cherubino palpitates suitably, but her voice is a shade heavy for a role really intended for a soprano. Neither Marcellina or Basilio does enough to justify inclusion of their dull pieces. There's a lightweight Bartolo (a young singer trying to sound old) and an edgy Barbarina. The cast adds embellishments and appoggiaturas (not enough) in a haphazard fashion.

The recording catches the ambience of the theatre where it was recorded and the mood of a live occasion, but it's certainly not superior to the Archiv and L'Oiseau-Lyre, which continue to head the field of period-instrument sets.'
 
Alan Blyth 
 

[Florestan]

Don't be irritated Andrei, I mean well.

I'm not irritated in the least, my friend.

Actually, I found this for you:

Two German language reviews.

[Harry]

I'm not irritated in the least, my friend.

Actually, I found this for you:

Two German language reviews.

Thankie, one good, one bad, well it will set me back for only 8 euro's.

[Florestan]

Thankie, one good, one bad, well it will set me back for only 8 euro's.

Don't think, buy! 

[Harry]

Don't think, buy! 

Will do, watch me!

[Harry]

Still I would like to have some period instruments recommendation.
Ostman/Gardiner for instance.
Common all lovers of opera and enlighten me.
I am here now, so profit from that fact.
Convert me!

[Gabriel]

Harry, if you can afford them, get the recordings of Così fan tutte and Le nozze di Figaro conducted by René Jacobs, in Harmonia Mundi. They are simply remarkable. Moreover, his Don Giovanni will be very soon released.

I haven't listened to those Kuijken recordings, but in general I would trust his performances.

[Lethevich]

I haven't listened to those Kuijken recordings, but in general I would trust his performances.

Definitely. Kujiken understands the classical period, and I would view him as "safe hands" with that repertoire. The Gramophone review being rather negative without specifying much about exactly why makes me think that the reviewer just wasn't in the mood for an opera that afternoon.

[Harry]

As you all know, I have some serious issues with the soprano voice.
I could for instance only accept the Haydn Masses, when the recording recommended by Que, with Monoyios was done without vibrato, more in the Kirkby style.
And it will be the same with the Mozart operas. Much as i like his music, a wrong soprano can ruin all for me. So keeping that in mind would you still recommend Rene Jacobs?
As to the Kuijken recordings, what can go wrong for 8 euro's the set?

[sTisTi]

Still I would like to have some period instruments recommendation.
Ostman/Gardiner for instance.
Common all lovers of opera and enlighten me.
I am here now, so profit from that fact.
Convert me!

I have the Östman Zauberflöte and on the whole like it very much, although some numbers like "Der Vogelfänger bin ich ja" are done ridicilously fast. But if you like it "small scale, bubbly, spicy", Östman certainly should be explored! Like you, I have a strong dislike for excessive vibrato in sopranos, and while this performance is not free from it, it is less objectionable than many others I tried.
Many also like Östman's Don Giovanni, but I cannot comment as I don't own it.

[longears]

Ass you all know, I have some serious issues with the soprano voice.
I could for instance only accept the Haydn Masses, when the recording recommended by Que, with Monoyios was done without vibrato, more in the Kirkby style.
And it will be the same with the Mozart operas. Much as i like his music, a wrong soprano can ruin all for me. So keeping that in mind would you still recommend Rene Jacobs?
As to the Kuijken recordings, what can go wrong for 8 euro's the set?

Harry, Jacobs's Mozart is splendid, I also have Kuijken's Cosi and it's very good, and also Östman's Zauberflöte and Le Nozze.