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Cosi Fan Tutte Comp

21 customer reviews

Price: CDN$ 56.00 & FREE Shipping. Details
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Product Details

  • Audio CD (April 19 1996)
  • Number of Discs: 3
  • Label: Universal Music Canada
  • ASIN: B00000426I
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (21 customer reviews)
  • Amazon Bestsellers Rank: #110,353 in Music (See Top 100 in Music)
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Disc: 1
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
Disc: 2
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
Disc: 3
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

Product Description

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

Customer Reviews

4.6 out of 5 stars
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2 of 2 people found the following review helpful By gtra1n on June 16 2004
Format: Audio CD
This is Mozart done on a very grand opera scale, especially so with the female leads. Fleming and von Otter sing as beautifully and musically as one would expect, but in spirit this performance seems more like Verdi, with the grand gestures and florid vocalization, than my taste for Mozart opera, especially this one, which is with a sense of intimacy. It all depends on how you like it, because for what it is, it is generally quite well done.
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.
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1 of 1 people found the following review helpful By A Customer on Dec 24 2003
Format: Audio CD
I would hardly call Fleming "the most acclaimed Mozart soprano around." She has a gorgeous instrument and seems to be a very knowledgable technician, but so far I still listen first to Jurinac, Janowitz, TeKanawa, Schwarzkopf, to name four, in Mozart. This would certainly be a choice, but not my first choice. But I don't mean to pick on her, just the reviewer; I like many things she has recorded. But the Bohm Cosi/Figaro/Giovanni/etc. are still out there for a reason.
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Format: Audio CD
On peut être gêné de mettre 5 étoiles à Karajan (il en faudrait 6) et à Solti. Cette version assez récente (1994), enregistrée en public, n'a pas l'ambiguïté ironique du miracle réalisé en 1954 par Karajan, les chanteurs ne sont pas toujours assez différenciés comme il l'étaient dans cette dernière version, bien que généralement excellents, ils n'ont pas autant de personnalité et, même si Solti a su se remettre en question à la fin de sa vie, sa baguette reste un peu péremptoire pour cet opéra où il doit y avoir toujours autre chose derrière ce qui est dit et ce qui apparait. Les cinq étoiles sont donc là pour saluer la meilleure, ou une des meilleures, versions du chef-d'oeuvre en haute fidélité, certes inférieure à l'inapprochable merveille de 1954, mais aussi bien plus adaptée au goût des auditeurs habitués à la technique moderne.

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.
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By T on June 19 2003
Format: Audio CD
How hopeful in these days of "fast" and mechanically trained singers to hear recordings that reach historical status so easily.
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.
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