Mozart/Da Ponte/Currentzis

[Gurn Blanston]

Has anyone heard these yet? Only  'Figaro...' and 'Così...' have apparently been released so far, but they look interesting. I never heard of them before today! 

[mc ukrneal]

Has anyone heard these yet? Only  'Figaro...' and 'Così...' have apparently been released so far, but they look interesting. I never heard of them before today! 

I disliked the Currentzis Figaro, and feel, like many of the more recent versions, that the hype is there simply because they are new. The problem lies in the singing for the most part, which is not particularly strong. It's strength is the orchestral playing.

However, in the Figaro thread, I noticed a strong correlation between liking Jacobs and liking Currentzis. Most that liked one, liked the other. So if you like Jacobs, you may like this more. I didn't like Jacobs either, as you might guess.

[Gurn Blanston]

I disliked the Currentzis Figaro, and feel, like many of the more recent versions, that the hype is there simply because they are new. The problem lies in the singing for the most part, which is not particularly strong. It's strength is the orchestral playing.

However, in the Figaro thread, I noticed a strong correlation between liking Jacobs and liking Currentzis. Most that liked one, liked the other. So if you like Jacobs, you may like this more. I didn't like Jacobs either, as you might guess.

Ah, thanks for that. I actually DO like Jacobs, so that would probably help. I read somewhere else that it was similar to Jacobs but the singers weren't as good, and this seems to jibe with what you are saying.

[San Antone]

Ah, thanks for that. I actually DO like Jacobs, so that would probably help. I read somewhere else that it was similar to Jacobs but the singers weren't as good, and this seems to jibe with what you are saying.

I haven't heard them, but judging from comments on Amazon, these recordings do not surpass Jacobs. But how much stock can one put in Amazon reviews?   I too loved Jacobs, but do not feel any overarching need to acquire the Currentzis recordings.  At least not yet. 

Here's a review in The Guardian - takeaway: "It's a recording that's well worth hearing, even if in the end there are too many mannerisms – too much that doesn't quite work musically – to make it a version that anyone would want to hear all that often."

[JCBuckley]

I got a lot out of the Currentzis recordings - I don't think they would be anyone's first choice (well, maybe Currentzis would pick them), but I found them consistently provocative, and often thrilling. And, unlike some, I liked the vibrato-free singing too, on the whole. 

[Gurn Blanston]

I haven't heard them, but judging from comments on Amazon, these recordings do not surpass Jacobs. But how much stock can one put in Amazon reviews?   I too loved Jacobs, but do not feel any overarching need to acquire the Currentzis recordings.  At least not yet. 

Here's a review in The Guardian - takeaway: "It's a recording that's well worth hearing, even if in the end there are too many mannerisms – too much that doesn't quite work musically – to make it a version that anyone would want to hear all that often."

Thanks. "Wilful but fresh..."; sounds like they are reviewing me!    I'm not always sure what to make of 'mannerisms', I don't look for them, probably to my advantage. Guess it will ultimately depend on the price point.

I got a lot out of the Currentzis recordings - I don't think they would be anyone's first choice (well, maybe Currentzis would pick them), but I found them consistently provocative, and often thrilling. And, unlike some, I liked the vibrato-free singing too, on the whole. 

Thanks, JC. Consistently provocative and often thrilling sound very appealing to me. Jacobs replaced Drottningholm as my main set, just sneaking in. That should give some idea of my tastes. Vibrato doesn't give me a Viagra Moment anyway, I say excessive vibrato, but anything more than a little is excessive to me anyway.

[Wanderer]

I got a lot out of the Currentzis recordings - I don't think they would be anyone's first choice (well, maybe Currentzis would pick them), but I found them consistently provocative, and often thrilling. And, unlike some, I liked the vibrato-free singing too, on the whole.

Seconded. I like the singing, too (the recitativi are a delight to listen to, as well) and the orchestral playing is almost nonpareil. Maybe too singular to be recommended as first versions (not the least because all others would sound boring in comparison) but excellent and splendid overall, thrilling and suave at the same time. Since you like Jacobs, Gurn, this will be right up your alley. They're on Spotify, for your sampling pleasure.

[king ubu]

uhm, there's an entire thread on the Currentzis "Figaro":
http://www.good-music-guide.com/community/index.php/topic,23009.0.html

I've also heard "Così" by now - like it less than "Figaro". Somewhat ambivalent on both, I guess. Wonderful and lively orchestral playing (perhaps the fortepiano continuo is a bit too hyper now and then), but the voices are probably somewhat too even, none that fall through, none that really stand out all the way. But to be honest, I've not felt like listening to the "Così" again after the first time some weeks back. First will re-listen to some Böhm versions and to Gardiner's, that's for sure.

[Gurn Blanston]

uhm, there's an entire thread on the Currentzis "Figaro":
http://www.good-music-guide.com/community/index.php/topic,23009.0.html

I've also heard "Così" by now - like it less than "Figaro". Somewhat ambivalent on both, I guess. Wonderful and lively orchestral playing (perhaps the fortepiano continuo is a bit too hyper now and then), but the voices are probably somewhat too even, none that fall through, none that really stand out all the way. But to be honest, I've not felt like listening to the "Così" again after the first time some weeks back. First will re-listen to some Böhm versions and to Gardiner's, that's for sure.

Ah, I only noticed that tangentially, and the title of the thread was too innocuous to get my attention. So this is done in Russia. Bueno!  You are the first I've heard to not sound enamored of the Così.... This was what had drawn my attention to it to start with, the general approval of that work. The Figaro was of secondary interest to me. 

Seconded. I like the singing, too (the recitativi are a delight to listen to, as well) and the orchestral playing is almost nonpareil. Maybe too singular to be recommended as first versions (not the least because all others would sound boring in comparison) but excellent and splendid overall, thrilling and suave at the same time. Since you like Jacobs, Gurn, this will be right up your alley. They're on Spotify, for your sampling pleasure.

Well, I'm a non-streamer for technical reasons, but I don't mind buying something if there is a reasonable chance of success.   Thanks for your impressions!

[San Antone]

I only recently discovered that Cosi and Figaro are on Spotify, so I started listening. 

I don't think it is helpful to bring up Jacobs since to my ears there are enough differences to not claim Currentzis moot.  I actually liked the recorded sound of Currentzis a lot: closer miked.  In a quick A:B, Jacobs sounded a bit distant and fuzzy.  I sure wouldn't say one is better than the other, but I also would not say to avoid Currentzis if you already have Jacobs.

[knight66]

I have been on a Klemperer splurge. This included listening to his studio Cosi Fan Tutti. It is a world away from the Perm style. We are now used to this music moving along swiftly. Initially the Klemperer sounded like a careful rehearsal taken slowly to get everyone secure in their parts. But by the end of scene one my ears and attitude had adjusted. The performance does give time, time for things to register with the listener, time to think as you absorb what is happening and time for the beauty of the voices to make the notes bloom and with Margaret Price, Lucia Popp and yvonne Minton, what voices. The set luxuriates in the very quality that was so missing from the Russian recording, they are polar opposites. The speeds of many passages in the Klemperer sound perfectly sane, some are slow. It is well worth a spin and is as I have said, it is another world from the Perm sound. But that need not be a problem for the open minded.

Mike

[Leo K.]

I have been on a Klemperer splurge. This included listening to his studio Cosi Fan Tutti. It is a world away from the Perm style. We are now used to this music moving along swiftly. Initially the Klemperer sounded like a careful rehearsal taken slowly to get everyone secure in their parts. But by the end of scene one my ears and attitude had adjusted. The performance does give time, time for things to register with the listener, time to think as you absorb what is happening and time for the beauty of the voices to make the notes bloom and with Margaret Price, Lucia Popp and yvonne Minton, what voices. The set luxuriates in the very quality that was so missing from the Russian recording, they are polar opposites. The speeds of many passages in the Klemperer sound perfectly sane, some are slow. It is well worth a spin and is as I have said, it is another world from the Perm sound. But that need not be a problem for the open minded.

Mike

I revisited Klemperer's Cosi as well and agree with all you say. It's by far the most powerful Cosi I've ever heard. Aces!

[aligreto]

Well, I'm a non-streamer for technical reasons, but I don't mind buying something if there is a reasonable chance of success.

I knew nothing of these forces until recently so I went on to Amazon UK and under their listing for his Nozze di Figaro there is a promotional video that is really very worthwhile watching; it may be of interest to you so here is the link....


http://www.amazon.co.uk/Nozze-Figaro-Hard-Back-Limited/dp/B00CE26AU6/ref=sr_1_2?s=music&ie=UTF8&qid=1426278266&sr=1-2&keywords=mozart+currentzis

There are two video icons on the left - click the first which is 6:41 minutes long.

Enjoy.

[DavidA]

I revisited Klemperer's Cosi as well and agree with all you say. It's by far the most powerful Cosi I've ever heard. Aces!

I think then you need to hear Karajan's 1950s version. That is amply as perfect as things can be in this world.

[king ubu]

I think then you need to hear Karajan's 1950s version. That is amply as perfect as things can be in this world.

Too sportive for me. As if the maestro didn't have enough ... how to call it, peace of soul, or just confidence (in himself as well as in the play, I guess) to really let things flow in a natural way. The singing is gorgeous, but there's a constant rush. At least so it feels to me. I keep repeating that, but I really wish EMI would've let Furtwängler do those opera productions instead, if any proof of hiss superior ability is needed, listen to the great (though sonically mediocre) 1951 "Zauberflöte" from Salzburg!

[mc ukrneal]

Too sportive for me. As if the maestro didn't have enough ... how to call it, peace of soul, or just confidence (in himself as well as in the play, I guess) to really let things flow in a natural way. The singing is gorgeous, but there's a constant rush. At least so it feels to me. I keep repeating that, but I really wish EMI would've let Furtwängler do those opera productions instead, if any proof of hiss superior ability is needed, listen to the great (though sonically mediocre) 1951 "Zauberflöte" from Salzburg!

I don't understand what you mean by 'sportive'. This is a comedy and it's a not a 'peace of soul' type of opera. There is no angst in the romantic sense, nor should it be slow and reverent. If anything, it should be irreverent. Maybe I am not understanding your comments. The Karajan is not my favorite, but it is very well sung (and performed). I also don't think Furtwangler had superior talent, ESPECIALLY when it comes to opera, where Karajan usually seemed to be able to draw out wonderful performance after wonderful performance (especially in those days).

[king ubu]

Well, to me Karajan's "Così" just sounds rushed, not in a good, "lively" way, but more in a "short of breath" way. That's what I meant. Of course I'm only speaking for myself, but I vastly prefer Böhm's take on "Così".

And nowhere did I say the Karajan wasn't sung or played beautifully - the forces at work are probably my favourites as far as Mozart operas go. In the end, it just doesn't really gel for me and I'm trying to describe why I think that's so.