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24 of 24 people found the following review helpful:
4.0 out of 5 stars
Embarrassment of riches, April 19, 2000
This review is from: Mozart - Mitridate / Augér, Baltsa, Cotrubas, Gruberova, Weidinger, Hollweg, Kübler; Hager (Audio CD)
Yes, the story is dull and undramatic; yes they should have cut most of the recitatives. Yes, the tenor part is practically impossible (it's like an ottocento Tristan) and Hollweg sounds strained- who wouldn't? But, look at the women on this recording. Talk about a strong lineup! Cotrubas supplies beautiful tone and convincingly fakes her way throught the coloratura. Baltsa is a fine choice for her role- tough and strong, but without a chance to show off her brilliant top. Gruberova does not disappoint those of us who expect from her technically dazzling fioriture, but with meaningful expressiveness. But Auger steals the show- her first aria is worth the high price alone. Intelligent, technically assured artistry of the absolute highest level mixed with consistently gorgeous tone and keen emotional involvement: nothing is beyond her. The sudden high pianissimi, the high speed coloratura, the magnificent phrasing- it's all there and not just in the arias, but the recitatives (especially in the last act when she considers suicide-- this is vocal acting!). She's amazing. Remember- this is opera seria, which means long chains of aria after aria with little to change the texture. There is a duet between Auger and Gruberova that is pure heaven: not Mozart's finest inspiration, but beautiful and full of daredevil vocal display. Also a regretably short quintet for the women ends the whole opera, but even though it was not the convention of the time, one sorely wishes there had more ensembles.
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0 of 3 people found the following review helpful:
2.0 out of 5 stars
Sung in Italian by a Légion étrangère, August 25, 2011
This review is from: Mozart - Mitridate / Augér, Baltsa, Cotrubas, Gruberova, Weidinger, Hollweg, Kübler; Hager (Audio CD)
With all due respect to Mozart's work, the fine singers, the brilliant orchestra and the superb sound recording - the cast does not include a single Italian singer. The result is known even before listening to the opening recitativo 'Vieni, Signor'. Bad diction corrupts this recording. When will the A&R deparments of any record label learn to gather adequate artists for the production of an opera?
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