Customer Reviews

Mozart - Mitridate / Augér, Baltsa, Cotrubas, Gruberova, Weidinger, Hollweg, Kübler; Hager

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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.

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?