Customer Reviews

Mozart: Ascanio in Alba / Chance, Feldman, Windsor, Rannion, Milner; Grimbert

5 star:		(3)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

The first thing I have to say is I wish I could write music like that when I was 15. I wish I could write music like that now! Naxos opera recordings are generally quite good for their prices, and this album is no exception. I bought this opera after hearing two arias from it on recital albums by countertenors Andreas Scholl and David Daniels, and since this is the only complete recording of the opera I have seen in the catalogue, the choice was obvious. While I still like the aforementioned performances of those particular arias better than those presented on the Naxos recording, I was not disappointed. If you like Mozart's opera seria this certainly a worthwile investment. Although no mention of a period orchestra is made anywhere in the notes, this orchestra plays with the energy and clarity to make an ample substitute. The singing is also quite good. The disadvantages to this recording, insurmountable because it's the only complete recording in the catalogue, as I've already said: sometimes the polish and balance leave a bit to be desired, but not very often. Also, if you have ever purchased Naxos opera recordings before you know the libretto is not translated. Usually a detailed synopsis for each track is provided in substitution, but not with this one. A brief, undetailed synopsis of each act is provided, but this is really not sufficient for a true understanding of the aria texts and nuances in the music to accompany them. I know the libretto and story in general are pretty laughable and formulaic, but it would still be helpful in understanding the music. At any rate, a fine recording of nice music. I'd recommend it for any fan of Mozart's operas, opera seria in general, or both.

A FOURTEEN YEAR OLD MOZART KEEPS US INTERESTED THROUGHOUT THIS RATHER LIGHT-HEARTED TALE!

In October of 1771 the Archduke Ferdinand commissioned Johann Hasse to write an opera and the young l4 year old Mozart to write a Serenata (mini-opera) for his coming marriage. Upon hearing his Serenata, Hasse supposedly said:"That lad will get us all forgotten". History tells us that Mozart wrote this in three weeks with all kinds of noises going on at the inn where he was housed . What a genius!!

The plot of this opera is no more than a ponderous allegory of the state wedding for which it was written. Ascanio(countertenor) is the son of Venus and is lined up to marry Princess Silvia (soprano),a direct descendant of Hercules. Cupid is lined up as a go-between and the plot unfolds in an easy to follow simplistic manner.

It's definitely the music of Mozart that enchants and not the story. If ever a piece of music sang as spontaneously as the birds and the angels, this occasional Serenata dashed off in three weeks is that piece of music. The work's rich inventiveness and the enthusiasm with which the composer contrives to maintain our interest throughout the most tedious of plots truly displays the genius of Mozart. This opera is a delightful piece of musical "fluff" and I love it!!!

The orchestral accompaniment is well-done as is the choral singing. Rosa Mannion is outstanding in her role as Fauno. All the singers do their roles in a grand style. But you haven't musically lived until you hear Ascanio (Chance) singing "Ah di si nobil alma". One negative comment: why didn't Naxos give us an English translation of the Libretto?

Some quotations concerning this recording: GRAMOPHONE (CRITICS CHOICE): "...the recording under the direction of Jacques Grimbert is distinguished by some of the most beautiful countertenor singing I have ever heard, from Michael Chance in the title role..."

PENGUIN GUIDE: :"The countertenor, Michael Chance, sings flawlessly in the castrato role of Ascanio....Lorna Windsor...bright and clear as Venus....an outstanding bargain in every way, a rare Mozart that for most will be a delightful discovery."

GRAMOPHONE: "The singing of Michael Chance is truly in a class of its own...Jill Feldman....is secure and always musicianly...Rosa Manion is very impressive... the tenor role of Alceste is sung with good, full-blooded tone and gracefully phrased by Howard Milner."

I would probably rate this recording 4.5. Although there is no mention of it in the CD liner notes this is a period instrument recording. Although sounding a little thin in places (perhaps due to record engineering) the orchestra overall sound fantastic, as does the chorus. The soloists also surprised me. I naturally thought that with a starry cast on the Philips rival set these singers wouldn't stand a chance-I was totally wrong!!! Lorna Windsor as Venus sings beautifully as does counter-tenor Michael Chance (Ascanio), a better account than Baltsa. The real surprise is Rosa Mannion and the famous coloratura aria for Fauno "Dal tuo gentil sembiante". I hate to say it as I'm a big fan of Arleen Auger, but Mannion clearly surpasses her. She has no trouble whatsoever, compared with Auger who sounds like shes onto dear life at the edge of a cliff! My only reservation, the recitatives are a bit boring and a few passages of insecure vocal technique. Overall a good recording!

Mozart at the age of 15 wrote this charming, ever inventive `festa teatrale' for the coronation of the Archduke Ferdinand to an Italian princess in Milan in 1771. A court entertainment rather than an opera proper, it designedly identifies characters in a classical story, with the bride and bridegroom taking part in a delightful and original closing trio. The Naxos version easily outshines previous recordings with a lightly sprung, stylishly conducted performance featuring an outstanding cast. The counter-tenor, Michael Chance, sings flawlessly in the castrato role of Ascanio, son of Venus, even-toned and brilliantly flexible. The others are fresh-toned too. Lorna Windsor, bright and clear as Venus, is nicely contrasted with the girlish-sounding Silvia of Jill Feldman, who sings with fine assurance in one of the two extended arias. The other, even more extended and demanding, is given to Fauno, with Rosa Mannion arguably the most accomplished soloist of all. The excellent tenor taking the role of Aceste is Howard Milner. Well recorded with transparent textures, if with chorus backwardly balanced, this makes an outstanding bargain in every way, rare Mozart that for most will be a delightful discovery.

Naxos' Tancredi was such a first-rate production that I took a chance on this version of Ascanio, but alas, I should have stuck with the excellent Phillips edition, even though out-of-print and thus higher-priced. Phillips created wonderful versions of Il Re Pastore and Il Sogno di Scipione, after all, and even though these early operas follow the baroque model of seemingly endless recitatives, one can always skip them in subsequent playings (or create one's own "highlight" CD). For there are wonderful arias in all the early Mozart vocal works I've sampled, La Finta Simplice included, the Diamond edition of which has a cast equal in stature to the others. What other teen-age composer has been served by casts of world-class singers? The Bartoli Mitridate is another such.

But this Ascanio libretto may have given too much emphasis to the title role--either that or Michael Chance doesn't have the variety in his voice to sustain interest. Perhaps both. Moreover, the University Choir of the Sorbonne isn't up to the standard of operatic choruses, sounds bland and pallid to my ear. Even though the Phillips edition is pricier, it might--while it lasts--be the better choice.

Hasse was on the money when he worked with the talented young Mozart.

This HIP recording of this work is very enjoyable and the soloists are very good - particularly Rosa Mannion and Michael Chance (in the title role). The music is clearly Mozartian but there is a considerable amount of Baroque flavours in this recording which will please lovers of early music. The recording is cheap (of course) and it is suprisingly good.

Do not hesitate.