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  • Mozart: Così Fan Tutte ~ Karajan
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Mozart: Così Fan Tutte ~ Karajan Original recording remastered

8 customer reviews

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Audio CD, Original recording remastered, January 10, 2006
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$38.16 + $3.99 shipping In stock. Usually ships within 4 to 5 days. Ships from and sold by FIRELIGHT.


Disc: 1
1. Sinfonia/Overture - Philharmonia Orchestra & Chorus
2. La Mia Dorabella Capace Non E - Rolando Panerai
3. Cessate Di Scherzar - Rolando Panerai
4. E La Fede Delle Femmine - Rolando Panerai
5. Scioccherie Di Poeti! - Rolando Panerai
6. Una Bella Serenata - Rolando Panerai
See all 32 tracks on this disc
Disc: 2
1. Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
2. Si Mora, Si, Si Mora - Various Artists
3. Eccovi Il Medico - Various Artists
4. Dove Son? Che Loco E Questo? - Various Artists
5. Dammi Un Bacio, O Mio Tesoro - Various Artists
6. Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
See all 21 tracks on this disc
Disc: 3
1. Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
2. E Amore Un Ladroncello - Nan Merriman
3. Come Tutto Congiura - Elisabeth Schwarzkopf
4. Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
5. Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
6. Tutti Accusan Le Donne - Rolando Panerai
See all 17 tracks on this disc

Product Details

  • Orchestra: Philharmonia Orchestra of London
  • Conductor: Herbert von Karajan
  • Composer: Wolfgang Amadeus Mozart
  • Audio CD (January 10, 2006)
  • SPARS Code: ADD
  • Number of Discs: 3
  • Format: Original recording remastered
  • Label: EMI Classics
  • ASIN: B000BL98ME
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #78,202 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

26 of 26 people found the following review helpful By L. Mitnick on January 29, 2006
Format: Audio CD
EMI had been incredibly consistent with their Mozart opera recordings in the 1950's. Of course, their great fortune was to have conductors like Van Karajan, Giulini, and Furtwangler under contract. It was an age of great Mozart singers---Elisabeth Schwarzkopf, Anton Dermota, Irmgard Seefried, Sena Jurinac, and Leopold Simoneau - all of whom recorded for EMI. By 1954, Schwarzkopf and Von Karajan were already big ticket talent at EMI (they also had exclusive contracts with Maria Callas, Victoria de los Angeles, Nicolai Gedda, Tito Gobbi, Giuseppe di Stefano ---- seven-eighths of the greatest opera singers in the world at the time). This recording of Mozart's "Cosi Fan Tutte" comes from the height of that period, and it's very impressive indeed. Von Karajan's musicians make the most of Mozart's lush music, and the entire performance has a "float" to it that I find eludes other presentations of this opera. The legendary and gifted Schwarzkopf sings a beautiful Fiordiligi ---her "Come Scoglio" a real piece of virtuoso singing covering a span of two and a half octaves. Her singing throughout the opera is exemplary (I cannot understand one critic years ago referred to her performance as "pufferies of sound"---he's dead wrong!).
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation.
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17 of 18 people found the following review helpful By P. Emilio Rossi on November 15, 2006
Format: Audio CD
Esta es una de las mejores interpretaciones en CD del Cosi Fan tutte, en compañìa de la versión de Böhm de 1962. Uno de los méritos fundamentales de esta excelsa grabación es la magnífica dirección de Karajan. El maestro austriaco se demuestra en todo momento como un estilista consumado, obtiene timbres orquestales sugerentes y refinados, construye y define adecuadamente lo que es el "dramma giocoso", con gracia, con humor y justos toques de seriedad, todo con una elegante presición. Cuenta, por lo demás, con un cast abolutamente modélico; Elizabeth Schwarzkopf es considerada unánimemente por todos los criticos musicales como la intérprete de referencia del rol de Fiordiligi, por su imponente modo de esculpir y modelar las frases con un estilo y elegancia de fraseo espectaculares. Leopold Simoneau, es un Ferrando sutil e insinuante, ideal por su voz leve, clara y robusta a la vez. Es junto a Alfredo Kraus, de la versión Böhm 1962, el mejor intérprete histórico de este rol. Lisa Otto configura con musicalidad, vitalidad y fino humor una Despina excelente. Sesto Bruscantini, es sin duda el Don Alfonso de referencia, por su fina ironia y discreta elegancia, aunado a la belleza de su voz baritonal y excelente técnica. Rolando Panerai es el barítono brillante que todo aficionado serio a la opera conoce a la perfección. Excelente técnica, fraseo inteligente e incisivo, en suma un Guglielmo de referencia.Read more ›
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8 of 10 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on March 20, 2006
Format: Audio CD
Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias.
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