Mozart - Cos? fan tutte / Caball? ? J. Baker ? Cotrubas ? Gedda ? Ganzarolli ? T. Allen ? ROH Covent Garden ? Sir Colin Davis
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Free Music Notes for Mozart - Cos? fan tutte / Caball? ? J. Baker ? Cotrubas ? Gedda ? Ganzarolli ? T. Allen ? ROH Covent Garden ? Sir Colin Davis
Free Music Review: Quite wondeful
Hit: 5 Stars
This version has always been one of my very great favourites. It can only be beaten by one of the best opera recordings ever made, that on EMI with B?hm/Ludwig etc. Here on Philips we have only very experienced singers, all very famous. The melt together in a wonderful way, so secure in their roles and all sounding as they really love the score. I give you the advise, if you are looking for the best Cosi, accept that there are two, this and the EMI one. Buy them both!Free Music Review: Sorprendente version
Hit: 4 Stars
Este 'Cosi fan tutte' que dirige Colin Davis sorprende por lo bien que funciona globalmente a nivel general, y por eso se convierte en la mejor opcion posible (siempre despues de las de Karajan y B?hm con Schwarkopf como Fiordiligi en ambas, que a mi manera de ver, son las dos cumbres de la discografia de esta obra mozartiana.
En esta version sorprende MONTSERRAT CABALLE, que pese a que puede (y debe) parecernos poco mozartiana, canta Fiordiligi con comodidad, con todas las notas y todas las coloraturas en su sitio, y esa tecnica prodigiosa que ella ha tenido siempre, aunque quiza se le pueda pedir mas intencion en los recitativos. Tampoco se queda atras JANET BAKER como Dorabella, conocedora del estilo, este papel es tan facil para ella que lo canta con absoluta perfeccion, y bastante bien enconjuntada con la Caballe. El trio femenino lo complementa una magnifica ILEANA COTRUBAS, que une a una voz de gran belleza e inteligente tecnica, bastante picardia, lo que es de agradecer a la hora de dar vida a un personaje como el de Despina.
Menos entusiasmo causan los hombres, empezando por un NICOLAI GEDDA que esta incomodo e inseguro como Ferrando, y que es el punto mas bajo del elenco con diferencia. Pese a esto, canta su aria del segundo acto que casi siempre suele suprimirse (es decir, en esta ocasion son 3 arias para Ferrando, en vez de las 2 a las que estamos acostumbrados). Por su parte, VLADIMIRO GANZAROLLI es un Guiglielmo que, sin hacernos olvidar a ciertos mitos de este papel, ralla a gran altura. Por ultimo, RICHARD VAN ALLAN interpreta adecuadamente el papel del filosofo Don Alfonso, completando un cast de interes.
La direccion de orquesta de COLIN DAVIS es adecuadamente mozartiana (y este es el mejor elogio posible) y la ORQUESTA DEL COVENT GARDEN funciona con versatilidad. Lo mismo debe decirse del coro, que rinde a gran altura en su breve intervencion.
En definitiva, sin ser una primera opcion para esta obra (?es que hay tantas grabaciones en el mercado!) si que podria ser perfectamente una segunda opcion, que ralla a gran altura, salvo por el pequeno (y extrano) lunar de Gedda. A nivel general, mas que notable.
Free Music Review: Nectar and Ambrosia
Hit: 5 Stars
Where did all the reviews for this go? Well, it's all up to me, then...This is a wonderful recording of some of Mozart's most beautiful music. It can be sterile at times, but that is more the nature of the composition, for the most part. Caballe and Baker blend perfecty as the two sisters should--so well that I can't always distinguish the two! Their solos are exceptional, as well. I don't go out of my way to buy Gedda recordings, but he's in fine form here. He sings beautifully, though his runs are kind of...bad. In addition, you can hear a studio splice at one point during an aria of his. No big deal, though. The lower male voices are, well, good, as well--no particular comments here. For me, Cotrubas all but steals the show as Despina. I crack up every time I hear her sing in the foreign language when posing as the doctor and sing with the most nasally voice you've ever heard for portraying the notary. This recording does justice to all the beautiful and grand moments of this charming opera. Check out the Colin Davis Don Giovanni and Le Nozze di Figaro, as well--they have Freni!
Free Music Review: 2nd rate Ferrando
Hit: 3 Stars
As a tenor I appreciate great tenor voices in the more famous tenor roles. The role of Ferrando has most definately been played in higher esteem, by people such as Jerry Hadley (Scottish Chamber version). I have not actually explored the other voices, but Gedda does not fit my inner expression of the role of Ferrando.Free Music Review: sails far past every other available Cosi...
Hit: 5 Stars
I so agree with the last reviewer! As to another reviewer's dissertation on what constitues a "Mozart singer", hogwash! Montserrat Caballe failing to understand at every moment that she is singing Mozart? Hogwash! A 'Mozart singer' is like every other 'singer' - you got it or you ain't; the rest is intellectual preening and has nothing to do with genuine operatic art. And what singing this is - a Cosi to treasure! Mozart's ensemble writing in this opera surpasses that of his other operas, and Baker, Cotrubas and Caballe find an emotional perfection in the rendering that alters the earth's orbit! I've not heard another Cosi like it since Cotrubas' earlier recording with von Stade and Stratas. I also have the Harmonia Mundi recording and find it mundane by comparison. Veronique Gens has fioriture up her sleeve; she can pull it out, but she sings with the emotional depth of a teenager. Hers is a vocal aesthetic for Lully or Rameau, but not Bach, and certainly Mozart suggests that more consolidation of resources is necessary. Why not hire David Bowie for the role? -might as well. What is more 'stylish' than the musicianship these peerless singers and musicians bring to this surpassing Cosi? Please not Rene Jacobs' arcane treatment of the score, though I do admire the Cologne orchestra, particularly the weight of the strings, but that too cerebral 'informed classicism' always sticks its little notebook up into the musical air. Colin Davis rivals his own Tosca (also with Caballe) in this recording. The Covent Garden forces shine under his watch, even more, they consistently reach into themselves and deep into Mozart, deep into the opera - an attribute I would not ordinarily ascribe to this opera orchestra and chorus. Nicolai Gedda will probably die still insufficiently revered, he is one of the supreme artists of our time, or any time; he is as desirable an actor as he is miraculous singer. Even now, as things fall apart, he remains the present heart of any opera ensemble. His artistry burnishes this recording to a glow. Get this recording - it really has no rival at present.