Cosi Fan Tutte
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|1. Cosi fan tutte: Ouvertura|
|2. Cosi fan tutte: Act 1 - Scene 1: La mia Dorabella capace non e|
|3. Cosi fan tutte: Scene 1: Fuot la spada! Scegliete qual di noi pu vi piace|
|4. Cosi fan tutte: Scene 1: E la fede delle femmine come l'araba fenice|
|5. Cosi fan tutte: Scene 1: Scioccherie di poeti!|
|6. Cosi fan tutte: Scene 1: Una bella serenata far io voglio alla mia dea|
See all 26 tracks on this disc
|1. Cosi fan tutte: Scene 3: Che silenzio! Che aspetto di tristezza|
|2. Cosi fan tutte: Scene 3: Alla bella Despinetta vi presento, amici miei|
|3. Cosi fan tutte: Scene 3: Che sussurro! Che strepito! Che scompiglio e mai questo?|
|4. Cosi fan tutte: Scene 3: Temerari! Sortite fuori di questo loco!|
|5. Cosi fan tutte: Scene 3: Come scoglio immoto resta|
|6. Cosi fan tutte: Scene 3: Ah, non partite!|
See all 25 tracks on this disc
|1. Cosi fan tutte: Scene 2: Barbara! Perche fuggi?|
|2. Cosi fan tutte: Scene 2: Ah! Lo veggio, quell'anima bella|
|3. Cosi fan tutte: Scene 2: Ei parte...senti...ah no!|
|4. Cosi fan tutte: Scene 2: Per pieta, ben mio, perdona all'error|
|5. Cosi fan tutte: Scene 2: Amico, abbiamo vinto!|
|6. Cosi fan tutte: Scene 2: Donne mie, la fate a tanti|
See all 23 tracks on this disc
This delicately balanced story of two engaged couples who are inveigled into a brief flirtation with infidelity inspired some of the finest music Mozart ever composed. It is often textured with the fine nuances of chamber music, with some particularly delectable woodwind parts, and it progresses from contrived artificiality--when the two men make a rash bet with a friend about the unshakable faithfulness of their fiancées--into intense despair when that fidelity begins to be shaken. There is also slapstick-level comedy. It is all held together under Georg Solti's genial direction, with singing--solo and ensemble--of the highest quality. --Joe McLellan
Top Customer Reviews
Some flaws, though. Solti, no surprise, seems to drive the work along a bit much, and the change in emotional quality in the music is frequently glossed over. While the ladies sound great, only Despina seems really characterized in many ways, and while the gents do a better job of 'acting' in their vocalization, I can't say the really stand out in comparison with other records. For the grand opera manner with still a sense of intimacy there is the incomparable von Karajan recording with Leopold Simoneau as the greatest Ferrando one will hear on record, singing so beautifully that in comparison I can't imagine what others hear to praise in Lopardo. Another wonferful Ferrando is Rainer Trost, with Gardiner's period performance, which also features outstanding work by Rodney Gilfry. Like his set, that one is also a live performance, a fully-staged opera recording, yet with far fewer interruptions for applause after arias, which do create a drag in this set as it goes along. Fine, in general, but not nearly one to listen to consistently.
D'ailleurs l'énergie un peu unidimensionnelle des interventions de l'orchestre contribue à la vie théâtrale de cet enregistrement, à une griserie au premier degré. C'est en cela que, moins parfaite, moins léchée que celle de Böhm en 1962, d'ailleurs c'eût été impossible hors du studio, cette version est bien plus vivante et joyeuse. On appréciera la netteté, on regrettera peut être l'absence d'alanguissements ou de respirations qui auraient donné sa part au doute, au second degré, sans laquelle aucun Cosi n'est vraiment ce qu'il doit être.Read more ›
The perfection of Bohm's Cosi cannot be surpassed I am afraid. There the vocal colours of the singers reveal Metaphysical and Dramatic aspects of this Unique Masterpiece that the Solti Cosi does not even "think" they are there!
But Fleming truly stands besides Elisabeth with that Glorius Voice of hers- a true Mircale of Beauty. Fiordiligi is a Fleming role no doubt about it.
Indeed, von Otter who is another truly Great Singer of our times is exquisite but is definetely outsung by Ludwig whose vocal and stylistic perfection has no second in our century.
An interesting question would be how come voices that great fail to surpass the Legends of the Past. The answer is "lack of proper schooling" as Callas would put it. Singing the notes perfectly isn't enough. Each composer had his style and every character needs different approach and that is not learnt with tonality lessons and is definetely not achieved when the singers are afraid of loosing their voices all the time.Studying a role demands an inner travel towards the true meaning of music and its thousands different facets (that is not achieved by thinking that Despina is just a servant and Fiordiligi just a woman in love, as "teachers" teach today in Operatic Schools.
Most recent customer reviews
I always prefer 'live' recordings generally to studio recordings. This 'live' performance fizzes all the way through. Kudos to Solti for his inspired direction. Read morePublished on April 6 2004
Compare.... in Come Scoglio, when Schawrzkopf hits the high B, she switches register and her vocal timbre changes! Not a very beautiful note. Read morePublished on Jan. 4 2004
This is not just Fleming's show. Everyone is terrific.
1. Solti's conducting is exciting.
2. Read more
If you like Solti's Figaro, wait till you hear his Cosi Fan Tutte!! You'll like it even more than his Figaro. Read morePublished on Oct. 16 2003
Solti gives a magnetic reading of Cosi Fan Tutte from start to finish! From the very first chords of the overture, you're mesmerized until the finale. Read morePublished on May 4 2003
I must say I am blown away by this recording. Solti really makes this Opera exciting and fun.
Renee Fleming is simply incredible and spectacular. Read more
This is the best recording of the opera. Solti's (DECCA) set beats the EMI set by Bohm. Here is my comparision
Conductor: Advantage: DECCA! Read more
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- Music > Opera & Vocal > Historical Periods > Classical (c.1770-1830)
- Music > Opera & Vocal > Languages > German
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- Music > Universal Classical Music