Mozart: Così fan tutte

Mozart: Così fan tutte

composed by Wolfgang Amadeus Mozart, 1756-1791; conducted by Alain Lombard, fl. 1962-1989; produced by Ivan Pastor, fl. 1986; performed by Domenico Gheggi, Nicola Ulivieri, Marcos Fink, Johann Sebastian Paetsch, Béatrice Berstel, Michèle Lagrange, Liliana Nikiteanu and Laura Cherici, Orchestra della Svizzera Italiana (OSI), Lugano and Coro della Radiotelevisione Svizzera (RSI), Lugano (Forlane), 4 hours 6 mins

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Details

Field of Interest
Classical Music
Composer
Wolfgang Amadeus Mozart, 1756-1791
Conductor
Alain Lombard, fl. 1962-1989
Content Type
Music recording
Duration
4 hours 6 mins
Recording Engineer
Ulrich Ruscher-Muller
Ensemble
Orchestra della Svizzera Italiana (OSI), Lugano, Coro della Radiotelevisione Svizzera (RSI), Lugano
Format
Audio
Sub Genre
Overture, Trio, Recitative, Duet, Aria, Quintet, Chorus, Scene, Sextet, Finale, Ensemble, Quartet, Cavatina, Opera
Label
Forlane
Performer
Domenico Gheggi, Nicola Ulivieri, Marcos Fink, Johann Sebastian Paetsch, Béatrice Berstel, Michèle Lagrange, Liliana Nikiteanu, Laura Cherici
Producer
Ivan Pastor, fl. 1986
Date Recorded
1999-04-01
Review
This release of a 1986 recording of Così fan tutte features Bernard Haitink leading the Glyndebourne Chorus and the London Philharmonic Orchestra. Haitink's conducting is brisk, with a light touch, but the playing he elicits from the orchestra doesn't have the sparkle to reveal the opera in its very best light. The pacing is nuanced and lively, but Haitink fails to bring out the opera's sly wit; he's more successful in its moments of deep, sincere feeling, such as {%Fiordiligi}'s "Per pietà, ben mio, perdona," which is genuinely moving. Much the same could be said about the singers' approach; as an ensemble, they fail to generate the sense of fun the opera requires, but are affectingly earnest when required to be. The vocal performances are very fine, but none are exceptionally strong. Carol Vaness is most impressive, negotiating {%Fiordiligi}'s extravagantly wide tessitura with solidity throughout. She and Delores Ziegler don't have the tonal purity to achieve the blend to make their duets really shimmer. John Aler is most effective in {%Ferrando}'s lyrical moments, but lacks the vocal heft to bring his rage persuasively to life. As {%Guglielmo}, Dale Duesing is solid and forceful. Claudio Desderi and Lillian Watson are idiomatically convincing and comically effective as schemers {%Don Alfonso} and {%Despina}, and bring them fully to life. EMI's sound is clean, but somewhat one-dimensional, and doesn't create much of a sense of dramatic space. ~ Stephen Eddins, All Music Guide
Subject
Classical Music, Music & Performing Arts, Classical, Clásica, Clássica
Keywords and Translated Subjects
Clásica, Clássica

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