Mozart - Arias
£13.25
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Label: Orfeo
Cat No: C903161A
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 13th January 2017
Contents
Works
Bella mia fiamma, K528Cosi fan tutte, K588
Artists
Anett Fritsch (soprano)Munchner Rundfunkorchester
Conductor
Alessandro De MarchiWorks
Bella mia fiamma, K528Cosi fan tutte, K588
Artists
Anett Fritsch (soprano)Munchner Rundfunkorchester
Conductor
Alessandro De MarchiAbout
On this recording she demonstrates the great diversity of Mozart’s female roles, beginning with the Contessa’s complex first aria ‘Porgi amor’ alongside Cherubino’s ecstatic ‘Non so più cosa son’ and the heartfelt canzona, followed by Susanna’s ‘rose aria’. Then from Don Giovanni we hear Donna Elvira’s passionate ‘Ah fuggi il traditor’ together with ‘In quali eccesi’ that was added later for the Vienna production. Anett Fritsch considers Donna Elvira to be the most emotionally ‘all-encompassing’ character in the opera, and contrasts her portrayal with the emotionally (and musically) quite different, Zerlina in her efforts to win back Masetto. Fiordiligi’s first two great arias are next, from the apparently comic, yet in truth highly cryptic Così fan tutte; they are separated by the frivolous and unintentionally comic erotic advice given by Despina (the first Mozart role that Anett Fritsch ever performed, in 2006) in ‘Una donna a quindici anni’. It is certainly remarkable how flexibly she does vocal justice to the diverse roles, starting from her lyrical base and then adjusting her voice to the challenges of each character, using a higher level of coloratura or adding her own embellishments, placing emotional emphasis where it is needed.
Anett Fritsch is wonderfully accompanied in all of this by the Munich Radio Orchestra, led by Alessandro De Marchi. Her recording programme draws to a close with examples from a meaningful, less well known field of Mozart’s vocal oeuvre – two expansive concert arias. The two-part, richly modulating aria with the recitative ‘Bella mia fiamma – Resta, oh cara’ was written in Prague for Niccolò Jommelli’s Festa teatrale Cerere placata in 1787, at the same time that Don Giovanni was premiered. On this recording, Anett Fritsch takes on a breeches role as Titano as he takes leave of his lover, culminating in him taking his own life.
Sound/Video
Paused
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1Le Nozze Di Figaro, K. 492 - Overture
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2Le Nozze Di Figaro, K. 492 - Non So Più Cosa Son, Cosa Faccio
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3Le Nozze Di Figaro, K. 492 - Voi, Che Sapete Che Cosa E Amor
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4Le Nozze Di Figaro, K. 492 - Porgi, Amor, Qualche Ristoro
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5Le Nozze Di Figaro, K. 492 - Giunse Al Fin Il Momento... Deh, Vieni, Non Tardar
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6Don Giovanni, K. 527 - Ah! Fuggi Il Traditor!
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7Don Giovanni, K. 527 - Non Me Lo Credi?, Batti, Batti, O Bel Masetto
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8Don Giovanni, K. 527 - In Quali Eccessi... Mi Tradì Quell'alma Ingrata
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9Così Fan Tutte, K. 588 - Ei Parte... Senti... Ah No!, Per Pieta, Ben Mio, Perdona
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10Così Fan Tutte, K. 588 - Una Donna A Quindici Anni
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11Così Fan Tutte, K. 588 - Temerari! Sortite Fuori Di Questo Loco!, Come Scoglio Immoto Resta
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12Bella Mia Fiamma, Addio, K. 528
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13Misera, Dove Son!, K. 369
Europadisc Review
From Don Giovanni, the spurned Donna Elvira’s two arias ‘Ah! fuggi il traditor’ and ‘Mi tradì’ are similarly contrasted to good effect with the young country girl Zerlina’s ‘Batti, batti, o bel Masetto’. The latter features a wonderfully idiomatic cello obbligato, and the quality of the accompaniments throughout from the Munich Radio Orchestra under Alessandro De Marchi is marvellously polished and stylish, with refined quasi-period string tone and characterful wind solos.
Fiordiligi’s two arias from Così fan tutte capture all the complexity of the character’s emotions: ‘Per pietà’ is a particular delight, while some minor inner intonation issues in ‘Come scoglio’ (as in Donna Elvira’s ‘Mi tradì’) scarcely register, for there is so much to admire here. Once again Fritsch demonstrates her gifts in the composer’s lighter side with a winning account of Despina’s chirpy ‘Una donna a quindici anni’, her familiarity with this role showing in some deliciously honed word-pointing.
A splendid bonus comes in the form of two concert arias, the first of which – Bella mia fiamma … Resta, oh cara, K528 – was written for inclusion in a 1787 Prague production of Jommelli’s festa teatrale, Cerere placata. Both inhabit the world of opera seria and serve to demonstrate Anett Fritsch’s versatility in music of an altogether more sombre hue. Together with a bustling account of the Figaro overture, they complete a disc which highlights a notable emerging talent, and all we need now are some more complete recordings to allow Ms Fritsch’s artistry more context. As it is, Mozart connoisseurs – even those already maxed out on Universal’s vast Mozart 225 anthology – would do well to investigate this disc. And for newcomers or those with less space on their shelves, this is a lovely way to get to know some of the composer’s greatest vocal music, in performances of unfailing artistry and huge talent.
Reviews
From the very first bars of the Overture to The Marriage of Figaro, with punchy ‘historically informed’ woodwinds and bristling strings, the playing of the Munich Radio Orchestra under Alessandro De Marchi instantly makes you sit up and listen. A jewel of a disc. Mark Pullinger
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