Customer Reviews

Mozart: Zaide / Mathis, Schreier, Wixell, Hollweg, Süß, Ude - Der Schauspieldirektor / Grant, Rolfe Johnson, Welting, Cotrubas

5 star:		(2)
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Mozart: Zaide / Mathis, Schreier, Wixell, Hollweg, Süß, Ude - Der Schauspieldirektor / Grant, Rolfe Johnson, Welting, Cotrubas is an opera that was unfinished by Mozart. He started working on it around 1779 but abandoned it to work on Indomeneo and unfortunately never completed it. The work was lost until his wife found it in 1799 but the work itself was not performed until 1866 almost 75 years after the death of Mozart. The sound quality is impeccable and one verily feels as if one is listening to it live. Highly recommended. 5/5.

Even though it was found many years after Mozart died, the astonishing beauty of this work of art is ovious. The perfect choice of notes is such as only Mozart could have made it, and Zaide is something that has been left to us from this very wonderful composer.

Unhappily for all concerned this recording was hopelessly miscast. The whole point of Der Schauspieldirektor is the vocal duel between the two sopranos..."Ich bin die erste sangerin" Madame Herz should crow to Madame Silberklang. Pitting the woefully thin and empty soprano of Ruth Welting against the full and luscious voice of Ileana Cotrubas was a non starter, and this recording suffers accordingly. Colin Davis conducts with brio.Cotrubas sings with her customary intelligence, refinement and beauty. What a shame.

First off - the operatic vocals on this production are what you wish life FELT like - the quality of intention and essence of the singer as song is nothing , or rather something that takes you right out of every day mundane planet earth - professional is a very weak word - as the vocal beingness is sheer magic-trite perhaps, but this is the essence of how opera should sound. And Mozart going fast? In orchestration - (Grin!) Oh - this is Mozart at the speed of Mozart! The orchestral rendering of his music leaves one dancing on clouds, or relaxing - you just happen to be in a universe where rapid is actually on a whole new level - and you have all the time out of this world beween notes! And Zaida - a masterpeice on it's own - but Der Schau- This opera, about opera, and the whole very missed intent of it, why were arias left out? Why doesn't anyone seem to realize this wasn't just an "opera" - but carried a whole more heartfelt plea, and teaching - then anyone seems to understand - one IS listening to a marriage of music & vocals, and the marriage of the book's intention to what, sorry to say, seems few group members seem to realize in the production of today's music - Perhaps it is so simple, no one actually "gets" what it's really saying, once you sweep all the "usual" reasons for performing, or "those concerns of performers" aside. This opera, goes far and above what one normally expects - and as in the magic flute, has quite a oft unheard message - delivered by the maestro, yet just as spiritually chiding as if the gods were on high delivering it to mortal man. As for the pace and clarity? My first entry into this album, was Madam Vogel... If I had heard nothing else, I would by it anyway - the sheer tone quality alone said that this was in the realm of the masters. Buy it. Listen - then shut your eyes, go away from the world, and LISTEN again. - you just might find that there is a very real world of pure intention and thought and purpose that is so very far above this one, -(laugh!) Or simply enjoy it as is. - The book seems to promote one thing - but look at the words+music+singers+message are - and it applies in everything you do or undertake - Splendid opera - my #1 favorite - and I am a Mozart fiend.