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
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