Il Conte di Almaviva – Ingvar Wixell
La Contessa di Almaviva – Claire Watson
Susanna – Reri Grist
Figaro – Walter Berry
Basilio – David Thaw
Bartolo – Zoltan Kelemen
Marcellina – Margarethe Bence
Cherubino – Edith Mathis
Antonio – Klaus Hirte
Barbarina – Deirdre Aselford
Don Curzio – Alfred Pfeifle
Vienna State Opera Chorus
Vienna Philharmonic Orchestra
Karl Böhm, conductor
Günther Rennert, stage director
Ludwig Heinrich, set and costume designer
Recorded live from the Salzburger Festspiele, 1966 Read more />
Sarastro – Martti Talvela
Tamino – Peter Schreier
Sprecher – Walter Berry
Erster Priester – Peter Weber
Zweiter Priester – Horst Nitsche
Königin der Nacht – Edita Gruberova
Pamina – Ileana Cotrubas
Erste Dame – Edda Moser
Zweite Dame – Ann Murray
Dritte Dame – Ingrid Mayr
Papageno – Christian Boesch
Papagena – Gudrun Sieber
Monostatos – Horst Hiestermann
Erster Geharnischter – William Lewis
Zweiter Geharnischter – Kurt Rydl
Sklave – Christian Spatzek
Drei Knaben – Solisten des Tölzer Knabenchors
Vienna State Opera Chorus
Vienna Philharmonic Orchestra
James Levine, conductor
Jean-Pierre Ponnelle, stage director
Recorded during the Salzburger Festspiele, 1982
LA CLEMENZA DI TITO
Tito – Michael Schade
Sesto – Vesselina Kasarova
Vitellia – Dorothea Röschmann
Annio – Elina Garan?a
Servilla – Barbara Bonney
Publio – Luca Pisaroni
Vienna State Opera Chorus
(chorus master: Rupert Huber)
Vienna Philharmonic Orchestra
Nikolaus Harnoncourt, conductor
Martin Kušej, stage director
Jens Kilian, set designer
Bettina Walter, costume designer
Reinhard Traub, lighting designer
Recorded live from the Felsenreitschule, Salzburg, 2003
Picture format: NTSC 4:3 (Figaro, Zauberflöte) / NTSC 16:9 (Tito)
Sound format: PCM Mono (Figaro) / PCM Stereo (Zauberflöte, Tito) / Dolby Digital 5.1 / DTS 5.1 (Tito)
Region code: 0 (worldwide)
Subtitles: English, German, French, Spanish, Italian (all operas) / Chinese (Figaro)
Running time: 6 hours 49 mins
No. of DVDs: 6 (4 x DVD 9 + 2 x DVD 5)
La Clemenza Di Tito "the musical values are what really make this set work. Harnoncourt never becomes self-indulgent and he is helped by knock-out-fantastic orchestral playing from the Vienna Philharmonic. Their always excellent musicianship sounds fantastic in this acoustic and the solo clarinet in Parto, parto is perhaps the finest I have ever heard - you can forgive the occasional hootiness of the basset-horn in Non piu di fiori. The team work together most brilliantly in the finale to Act 1, paced like a psychological thriller and played with hair-raising dramatic instincts.
Furthermore, Harnoncourt’s singers are outstanding. Michael Schade’s Tito is good: vulnerable and sensitive rather than noble and heroic. However, the real standout is Dorothea Röschmann’s Vitellia which is quite the finest assumption of this role I have heard. She treads the line between ice-cold manipulator and sexy vamp to perfection, using her voice to colour every phrase with outstanding beauty. She shows her iron-clad control over Sesto in the opening scene but gives way to abject panic by the end of the act. Furthermore she creates a sound of heart-stopping beauty in her Act 2 Rondo..."
-- Simon Thompson, MusicWeb International
"Where many other directors/stage designers see operas merely as department store manikins to hang any concepts upon—the more inappropriate, the better, when it comes to gaining notoriety and further employment—Ponnelle achieved his often startling results simply by finding effective solutions to stage problems few people consider. How do you differentiate Monostatos from his much-abused people when Papageno uses his bells? What do the various Initiates of the Sun do while they’re awaiting their leader and the start of a meeting? These are the kinds of questions Ponnelle considered and answered in this Zauberflöte, and the results seem so natural in retrospect that it’s difficult to understand how matters could have been done in any other way... The acting is universally effective, and not surprisingly so; Ponnelle was known for working closely with casts on motivation, blocking, and ease of movement... [T]his is definitely a Die Zauberflöte to enjoy."
-- Barry Brenesal, FANFARE
Le nozze di Figaro
"The performers are clearly focused on their live Salzburg audience, with the result that those with the most visceral energy—Walter Berry and Edith Mathis—appear almost manic from the camera’s overly intimate perspective. They supply inimitable portraits, however, all the more so for coming at a time when operatic acting on the world’s best-known stages was less a matter of character than mastering 10 all-purpose gestures. To watch Berry’s Italianate Figaro—visibly proud, witty, sarcastic, loving, angry, all of it up front and in your face—or the gawky, sublime youth of a Cherubino that Mathis provides (the best I’ve ever heard, though in German, on the old Suitner/Dresden Staatskapelle recording, now on Berlin Classics 2096) is to see something that has never been duplicated. There are scheming Figaros and lovestruck Cherubinos aplenty, but these stick in the mind, both for their marvelous sound and theatrical insight.
Equally good, in their own way, are Zoltan Kelemen and Margarethe Bence. Kelemen was a superb character singer; Bence was every bit his equal, though she is perhaps best known today for her Bach. Unlike so many versions of Figaro that reduce the forces arrayed against the hero into doddering, Hoffmannesque caricatures, this pair is formidable. Kelemen gives us a smiling and focused Bartolo, while Bence’s precise facial and hand gestures make her the clear winner in the battle duet of “Via resti servita” until Susanna hits by intuition upon her enemy’s weak point. Vocally they are above the average, as well, and this is the first time I can recall regretting the loss of Mozart’s uninspired aria “Il capro e la capretta” in act IV."
-- Barry Brenesal, FANFARE
Full Review These three operas from the Salzburg Festival represent productions and singers from nearly three generations. The Festival has always been able to call upon and cast the best Mozart singers of their time. It has been considered an honour to be invited to participate. Over the period concerned, production values and practices have changed unrecognisably. Esoteric and updated interpretations within what we have come to call regietheater are now the order of the day at many operatic addresses including Salzburg. Whether or not the producer concepts enhance the composer’s musical creation, intention or vision, is not deemed relevant. Seats sold and audience satisfaction often come a poor second to fostering what are considered to be imaginative artistic innovations. Imaginative and artistic invention and enhancement are not the prerogative of the latest craze. This is very evident in the first two of the three operas featured in this collection issued at reduced price. 1.Le Nozze Di Figaro - Opera buffa in four acts, K492 (1786) Susanna, maid to the Countess - Reri Grist (soprano); Figaro, manservant to the Count - Walter Berry (bass-baritone); Count Almaviva - Ingvar Wixell (baritone); Countess Almaviva - Claire Watson (soprano); Cherubino, a young buck around the palace - Edith Mathis (soprano); Marcellina, a mature lady owed a debt by Figaro - Margarethe Bence (mezzo), Don Basilio, a music master and schemer - David Thaw (tenor);. Don Bartolo - Zoltan Kelemen (bass); Barbarina - Deirdre Aselford (soprano) Chorus of the Vienna State Opera Vienna Philharmonic Orchestra/Karl Böhm rec. live, Salzburg Festival, 1966 Stage direction by Günther Rennert Set and Costume Design by Ludwig Heinrich Video Director: Herman Lanske Sound Format: PCM Mono, DD 5.1. Picture Format: 4:3. DVD Format NTSC 2 x DVD 9 Subtitle Languages: Italian (original language), English, German, French, Spanish, Chinese Available separately as 107 057 [2 DVDs: 180:00]
As I note above, and in my full review of this black and white 1966 recording of Mozart’s most popular opera, the Salzburg Festival has always drawn the cream of singers. This cast includes some of the all-time great Mozart interpreters. Reri Grist’s Susanna, petite and pert in manner, true in vocal characterisation and excellent in diction, is a particular delight. Her act four recit and aria are a wonderful postlude to an outstanding contribution (DVD 2 CH. 27). As her eponymous paramour, Walter Berry is quite some revolutionary; it would take a very strong count Almaviva to master him. His singing is full-toned with his rounded bass-baritone flexible and expressive in Figaro’s arias (DVD 1 CH.6 and 17) and his acting convincing. This is particularly so for the concluding act in the garden (DVD 2) where the various confusions bring Figaro, his bride and the put-upon Countess full justification for the plotting that has gone before.
Of the Almavivas and their entourage, Claire Watson’s warm and womanly Countess comes over well. She finds no difficulty with the tessitura of her two big arias whilst bringing expression and feeling to the emotions they convey (DVD 1 CH.18 and DVD 2 CH.10). Ingvar Wixell sings strongly as the Count, albeit overshadowed a little by his servant in terms of vocal strength. That lovely Mozartian, Edith Mathis, as the young buck Cherubino looks a little too feminine of face. However she sings her two arias with great beauty and acts the role convincingly, particularly after entering Susanna’s room via a window (DVD 1 CH 11-17) and then having to hide herself as the Count arrives. She graces both arias with tonal beauty and phrasing too rarely heard these days. Zoltan Kelemen is a cocky Don Bartolo (DVD 1 CH.8) with Margarethe Bence a rather fusty-looking Marcellina. Neither she nor David Thaw’s adequately acted music-master get their act four aria. Deirdre Aselford is vocally a little thin as Barbarina but acts her role well, particularly in act four.
Ludwig Heinrich’s classic sets and costumes made me regret the lack of colour. Karl Böhm’s phrasing and gently sprung rhythms allow the composer’s music to flow whilst giving the singers adequate time to phrase with delicacy and character. A little matter of changing styles is evidenced in the return of a singer to the stage after exiting at the end of an aria, to take a bow, or even two. Thankfully this practise has now died out with soloists criticised for even showing the hint of a smile as they maintain role during the enthusiastic reception following a bravura aria.
As in my full review I continue to think this classy and classic performance from another era of opera-going well deserves to be seen despite its technical limitations when compared to the present day.
2.Die Zauberflöte - Opera in two acts, K.620 (1791) Pamina - Ileana Cotrubas (soprano); Tamino - Peter Schreier (tenor); Papageno - Christian Boesch (baritone); Sarastro - Martti Talvela (bass); Queen of the Night - Edita Gruberova (soprano); Papagena - Gudrun Seiber (soprano); Speaker - Walter Berry (bass); Monostatos - Horst Hiestermann (tenor); Three ladies - Edda Moser, Ann Murray and Ingrid Mayr Chorus of the Vienna State Opera Vienna Philharmonic Orchestra/James Levine Director, Set and Costume Designer: Jean-Pierre Ponnelle TV and video Director: Brian Large rec. live, Salzburg Festival, 1982 Sound Format: PCM Stereo, Picture Format 4:3 colour, Region Code. 0 Subtitle languages: German (original language) English, French, Spanish, Italian Available separately as 107199[2 DVDs: 189:00]
This production played in the vast Felsenreitschule in Salzburg for a total of eleven continuous years after its premiere on 28 July 1978, setting an all-time record for Mozart productions there. To my mind it has not been bettered since. The wide stage, with an additional pop-up second stage, and the use of the rear arcades, is creative imagination at its very best. The Felsenreitschule came into being in the 17th century, created on a site where stone was quarried for construction of the present cathedral. The three tiers of arcades were originally from where the audience watched animal-baiting and the like. Director Jean-Pierre Ponnelle’s creative use of the stage space and arcades is remarkable. Add a cast including some who sang at the premiere of the production five years before, all outstanding interpreters of their roles and totally at ease with the vocal demands of the music, and a success of the highest order is on the cards. Add also a conductor and orchestra in whose blood the music ran and a memorable performance was expected and realised. My full review is also available separately.
Unusually, the production includes pretty well all the spoken dialogue. This can seem, as in act one (DVD 1 CHs.6 and 14) to be a little tedious and is generally much trimmed. Christian Boesch sings Papageno with appropriate action and vocal nuance. His is not a name that resounds like some of the other soloists, but it should. His singing and superb acting, rolling, falling looking scared to death, are integral to the success and vibrancy of this performance. He was, I believe, the only one of the original cast who sang in every revival. Several others from the premiere bring quality to this performance, notable the physically imposing Sarastro of Martti Talvela with his vocal sonority and gravitas particularly evident in his two arias (DVD 2 CHs.3 and 14). Likewise, in her two arias, Edita Gruberova as Queen of the Night is simply outstanding, her coloratura pinpoint and her high F in the act two Der Holle Räche absolutely secure (DVD 1 CH. 9 and DVD 2 CH.12). Ileana Cotrubas’s warm stage personality comes over well and if vocally she does not match Lucia Popp in the near contemporaneous audio recording under Haitink (EMI) hers is a considerable portrayal with Ach, ich fühl’s a highlight (DVD 2. CH.18).
New to the cast after the premiere was Peter Schreier as Tamino. Looking a little his age in the odd close-up, his mellifluous Mozart tenor is heard to good effect from the start with Dies Bildnis phrased with his renowned elegance (DVD 1 CH.7). The lesser roles of Monostatos, Papagena and Speaker are all taken with vocal appeal and acted with conviction by Horst Hiestermann, Gudrun Seiber and Walter Berry respectively. The three ladies, Edda Moser, Ann Murray and Ingrid Mayr are distinctive and well blended. The quality Chorus of the Vienna State Opera and the three boys are icing on this wonderful cake.
Some great singing and acted interpretations in an imaginative production stand alongside the finest available.
3.La Clemenza di Tito - Opera in two acts, K.621 (1791) Tito, Emperor of Rome - Michael Schade (tenor); Sesto, a Roman patrician, friend of Tito, in love with Vitellia - Vesselina Kasarova (mezzo); Vitellia, daughter of the emperor Vitellius - Dorothea Röschmann (soprano); Servilia, sister of Sesto, in love with Annio - Barbara Bonney (soprano); Annio, a Roman patrician, friend of Sesto, in love with Servilia - Elena Garan?a (mezzo); Publio - Luca Pisaroni (bass baritone) Chorus of the Vienna State Opera Vienna Philharmonic Orchestra/Nikolaus Harnoncourt Stage Director: Martin Kušej. Set design by Jens Kilian. Costume design by Bettina Walter TV and video Director: Brian Large rec. live, Felsenreitschule, Salzburg, August 2003 Sound Format: LPCM Stereo. DD 5.1. DTS 5.1. Picture Format: 16:9. NTSC Subtitles: Italian (original language), English, German, French, Spanish Booklet essay and synopsis in English, French, German Available separately as 107181 [2 DVDs: 169:00]
When Mozart was approached by the impresario Guardasoni with the commission to write an opera for Emperor Leopold’s Coronation Day in Prague on 6 September 1791 it must have come as a considerable surprise to him. He well knew he was not flavour of the month in the Royal Court, particularly with the Empress. By the time a positive decision had been made to present a newly composed opera as part of the celebrations, and Salieri had refused the commission due to pressure of work, time was very short and Mozart was heavily involved in the composition of DieZauberflöte. Much has been written and conjectured about the how Mozart might have composed Tito, including suggestions that he did so in his head during the three day coach journey from Vienna to Prague, writing it out on his arrival. Research on the paper used in the manuscript score, which fortunately survives, indicates a more complex story. Mozart certainly wrote some numbers from the opera before he had any idea of the commission coming his way. La clemenza di Tito was probably chosen for the Coronation Day opera because of the ready availability of Metastasio’s libretto that could easily be adapted by Mazzola, the Court poet who had replaced Da Ponte. Certainly time constraints were a factor for Mozart and he took his pupil Süssmayer to Prague, a mere twelve days before the scheduled premiere, and delegated to him the writing of some unaccompanied recitatives. That Tito was in the rather static opera seria form might have disappointed Mozart whose last work in this genre had been Idomeneo in 1781. Since then his operas had moved on in style and vitality as well as humour.
Working with Mazzola, Mozart was able to breathe some vitality into Metastasio’s original libretto. Despite these efforts circumstances surrounding the Coronation Day lead to the initial failure of the work. However, by the final performance on 30 September, the night of the premiere of DieZauberflöte in Vienna, it was a resounding success. In the following forty years Tito stood alongside Don Giovanni as Mozart’s most popular stage work until it fell into a decline from which it has only emerged in the last forty years or so. Like the production of Die Zauberflöte above, the present performance was staged in the vast Felsenreitschule whose origins I describe above.It was presented in the second year of Peter Ruzicka’s superintendence of the Salzburg Festival after the controversial reign of Gerard Mortier, both of whom might be considered bland compared to what has followed since.
The opera opens with Tito on the phone during the overture (DVD 1 CH.3). Although dressed in what could be a cousin of a Roman Toga he quickly divests this and is seen in modern dress like the rest of the cast. With two women playing the roles of men, and the director keen to play up the sexual relationships involved, there is a lot of female on female intimate caressing and petting. Of the two women en travesti, the young Elina Garan?a looks like a young male and distinctly more masculine than Vesselina Kasarova whose hairstyle is unmistakably feminine. Updating extends to the presence of balaclava-faced terrorists blowing up Rome in spectacular fashion (DVD 1 CH.26).
Whatever the staging idiosyncrasies, and there are more than I mention, Salzburg always draws on the best singers and this is the case with this cast. Add to this the ability to act, despite, or because of the director’s ideas and demands. At least Mozart’s music gets full due albeit that I find some of Harnoncourt’s tempi on the slow side, certainly compared with Levine on the film of Ponelle’s production (DG 00440 073 4128). However, it must be said that the textures he draws from the Vienna Philharmonic are lush. Kasarova sings the aria Parto, Ma tu, ben mio, one of the show-stoppers, with lovely tone and expression (DVD 1. CH. 21). Dorothea Röschmann plays and sings the role of the jealous plotter with distinction and despite having to half undress on stage, whilst Barbara Bonney as Servilia is a delight on ear and eye. Garan?a’s singing and portrayal are indicative of her future star status, albeit I find it amazing from this performance that her voice developed to the extent of her becoming the Carmen de nos jours. It’s even sufficient to conquer the large barn that is the nearly four thousand seat Metropolitan Opera. Michael Schade's sung assumption, modern clothes or not, is vocally convincing being mellifluous or dramatic as required whilst his acted portrayal is equal to the demands of the role (DVD.1 CH. 14 and DVD. 2 CH.16). Luca Pisaroni is an excellent Publio, tall and imposing. He is lighter of voice than is often the case (DVD 2. CH. 16).
My colleague, who attended a live performance of this production and cast, and later reviewed this DVD issue first seen on the Opus Arts label, shares my feelings about the over-sexualisation of the production. The production demeans Mozart’s opera rather than enhances it. Regrettably, this is a pattern that has accelerated at Salzburg, and elsewhere. That being said one would be very lucky to attend a performance anywhere in the world with the quality of singing and vocal characterisation to match that found here.
The accompanying booklet essay, in English, French and German, is appropriately titled: A new way of looking at ‘La Clemenza Di Tito’. As with the booklet accompanying DieZauberflöte, who is singing is not indicated in the generous Chapter listings.
-- Robert J Farr, MusicWeb International Read less
Works on This Recording
La clemenza di Tito, K 621by Wolfgang Amadeus Mozart Performer:
Vesselina Kasarova (Mezzo Soprano),
Barbara Bonney (Soprano),
Michael Schade (Tenor),
Elina Garanca (Mezzo Soprano),
Luca Pisaroni (Bass Baritone)
Vienna Philharmonic Orchestra,
Vienna State Opera Chorus Konzertvereinigung
Period: Classical Written: 1791; Prague Date of Recording: 2003 Venue: Felsenreitschule, Salzburg
Die Zauberflöte, K 620by Wolfgang Amadeus Mozart Performer:
Martti Talvela (Bass),
Peter Schreier (Tenor),
Ileana Cotrubas (Soprano),
Walter Berry (Bass Baritone),
Christian Boesch (Baritone),
Edita Gruberova (Soprano)
Vienna Philharmonic Orchestra
Period: Classical Written: 1791; Vienna, Austria Date of Recording: 8/1982
Le nozze di Figaro, K 492by Wolfgang Amadeus Mozart Performer:
Alfred Pfeifel (Tenor),
Edith Mathis (Soprano),
Zoltan Kélémén (Baritone),
Walter Berry (Bass Baritone),
Claire Watson (Soprano),
Ingvar Wixell (Baritone),
Reri Grist (Soprano),
David Thaw (Tenor),
Margarethe Bence (Alto),
Klaus Hirte (Baritone)
Vienna State Opera Chorus,
Vienna Philharmonic Orchestra
Period: Classical Written: 1786; Vienna, Austria Date of Recording: 1966 Venue: Salzburger Festspiele
Average Customer Review: ( 1 Customer Review )
Next best thing to visiting SalzburgFebruary 8, 2015By Denton Moers (Houston, TX)See All My Reviews"after watching these operas it becomes clear that this is the next best thing to visiting Salzburg, this is Mozarts home town. I cant for financial reasons go there. but the dvds are the next best thing.------Denton Moers"Report Abuse