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Mozart: Abduction From the Seraglio Import

BOHM / STAATSKAPELLE DRESDEN (Artist), WOFGANG AMADEUS MOZART (Composer), KARL BOHM (Composer), Format: Audio CD
3.8 out of 5 stars 5 customer reviews
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Audio CD, Import, June 1, 1990
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Track Listings

Disc: 1

  1. OuvertÜR
  2. Arie- Hier Soll Ich Dich Denn Sehen
  3. Aber Wie Soll Ich In Den Palast Kommen-
  4. Lied Und Duett- Wer Ein Liebchen Hat Gefunden
  5. Fort Ist Er
  6. Arie- Solche Hergelaufne Laffen
  7. Geh Nur, VerwÜNschter Kerl
  8. Arie- Konstanze, Dich Wiederzusehen
  9. Schnell Treten Sie Beiseite
  10. Chor- Singt Dem GroßEn Bassa Lieder
  11. Nun Konstanze, Immer Noch Traurig-
  12. Arie- Ach Ich Liebte, War So GlÜCklich
  13. WeißT Du, Was Du Wagst-
  14. Terzett- Marsch, Marsch, Marsch! Trollt Euch Fort
  15. Oh, Das Zanken, Befehlen Und Murren
  16. Arie- Durch ZÄRtlichkeit Und Schmeicheln
  17. ZÄRtlichkeit- Schmeicheln-
  18. Duett- Ich Gehe, Doch Rate Ich Dir
  19. Rezitativ Und Arie- Welcher Kummer Herrscht In Meiner Seele - Traurigkeit Ward Mir Zum Lose
  20. Mein Bestes FrÄUlein
  21. Arie- Martern Aller Arten
  22. Pst, Blondchen, Pst!
  23. Arie- Wlche Wonne, Welche Lust!
  24. Nun Schnell Liebstes Blondchen
  25. Arie- Frisch Zum Kampfe
  26. Holla, Hier Geht's Ja Lustig Zu
  27. Duett- Vivat Bacchus! Bacchus Lebe!
  28. Wahrhaftig, Das Muß Ich Gestehen
  29. Arie- Wenn Der Freude TrÄNen FließEn
  30. Quartett- Ach Belmonte! Ach, Mein Leben
  31. Kommen Sie, Bester Herr
  32. Arie- Ich Baue Ganz Auf Deine StÄRke
  33. Alles Liegt Auf Dem Ohr
  34. Romanze- In Mohrenland Gefangen War
  35. Sehen Sie Nur, Bester Herr
  36. Arie- Ha, Wie Will Ich Triumphieren
  37. Was Gibt's Osmin-
  38. Rezitativ Und Duett- Welch Ein Geschick - Ha, Du Solltest FÜR Mich Sterben
  39. Herr, Es Ist Aus
  40. Finale, Vaudeville- Nie Werd' Ich Deine Huld Verkennen

Product Details

  • Composer: WOFGANG AMADEUS MOZART, KARL BOHM, STAATSKAPELLE DRESDEN
  • Audio CD (June 1, 1990)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Import
  • Label: Dg Imports
  • ASIN: B000026BL5
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #116,757 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

5.0 out of 5 starsSpirit of Mozart Lives on this Recording
By David J. Friedlander on April 1, 2010
Format: Audio CD
Bohm leads an excellent cast here that captures the Mozartian spirit wonderfully. From the very beginning, the pacing of the drama unfolds with just the right energy. The humor in the score is brought out with finesse, especially with Kurt Moll's excellent, three dimensional Osmin. His clowning and menace seem real by turns and it is wonderful to hear his full bass voice take complete measure of the challenges Mozart laid out for the part. The female leads are no less compelling. Auger had a great natural musicianship to go with her clear, sweet voice and she adds just the right timbre to create a real Konstanze you can feel as well as hear. I think this sweeps the board and at mid-price, this is a no-doubter. Years ago this was awarded a rosette by the Penguin Guide. More recent issues give it the full 4 stars and a key. This is entertaining Mozart, sympathetic to his style while capturing all the energy and charm of the score. For my money, there is no other choice.
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4.0 out of 5 starsWhat's not to like?
By Just another listener on March 31, 2011
Format: Audio CD
I love this recording very much! I am not the sort of reviewer who has twenty different versions of this opera to compare; I'm the sort of buyer who is looking for a great performance at a great price. I feel this box set hits the sweet spot.

If you saw the movie "Amadeus", you will recognize this work as the one with "too many notes". If you liked that number, you'll like this one. On this box set, it is performed in German by a German cast.

Karl Bohm did a great job with the orchestra: right tempos, good dynamics, good balance, good musicians. It could scarcely have been done better. I suppose if we could bring the cast into the present day and record it again, we might get some marginal sound improvement, but what we have there is not bad at all and a joy to listen to.

The box set comes with a libretto in English German, French, and Italian. The CD box is easy to open and the libretto slips into the box (not in the CD case itself). The dialogue between the songs is included (this is a Singspiel and not an Opera). Actors perform the dialogue, not the singers.

The choir is fabulous! And the singers -- ah, the singers. We see both good and bad reviews of the same singers on this same recording, so what can we say? Perhaps it is a matter of taste. Peter Schreier and Kurt Moll are the best of the lot. Harald Neukirk is a little weak on his solos. He's not bad, but clearly not in the same league as Schreier and Moll. He sings great harmonies; in fact, when the three men sing together, it is something to hear!

Arlene Auger would be outstanding, except she is a little screechy on the very highest notes. As one reviewer said, not quite enough weight to pull off Martern Aller Artern.Read more ›
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4.0 out of 5 starsUncle Karl in the Harem
By Bernard Michael O'Hanlon on October 21, 2014
Format: Audio CD
Weber - right on the money - said that K 384 was something Mozart could only write once in life: when he was young and triumphal. "And Alexander was sad for there were no more worlds left to conquer." To my mind, it captures the optimism of the newly liberated composer to whom Vienna was the land of milk and honey and Count Arco's prophecy - that its burghers would eventually tire of him - was little more than ire. The Abduction was Mozart's most popular opera during his lifetime. Its freshness continues to amaze one. My favourites are "Singt dem großen Bassa Lieder" and "Nie werd' ich deine Huld verkennen."

Lawrence of Arabia tabled Seven Pillars of Wisdom; here, DG ran with two less: the Staatskapelle Dresden (masters of this domain); Arleen Auger as Constanze (what a Martern aller Arten!); Reri Grist as Blonde (definitive); Kurt Moll as Osmin (ditto - what a menace!) and the September 1973 recording is excellent. At the podium, Uncle Karl is less funereal than usual: it's not an entombment and for that we give thanks. As expected, the main drawback of this performance is Peter Schreier as Belmonte. Much like Die Jahreszeiten, this is a recording that Wunderlich would have made if he had not fallen into the abyss. Unless you get your cheapies from moggy-like ululations, the gritty German tenor is unbearable. Indeed, when I played "Konstanze! dich wiederzusehen!" a cat-fight started on the roof. More widely, the practice of using ring-ins for the dialogue is distasteful: either the powers of characterisation are there or they ain't.

If you transplanted Wunderlich from Jochum's set and zapped Uncle Karl with a cattle-prod, a definitive performance would ensue. In the interim, make do with this.
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3.0 out of 5 starsNot quite what Mozart had in mind.
By Amazon Customer on October 19, 2008
Format: Audio CD Verified Purchase
This is by no means a terrible recording, but it certainly does not aproach Mozart's ideal for this opera. Karl Boehm makes a very common mistake in handling Mozart's German Operas: he treats them as just a run-of-the-mill Singspiel, which it certainly isn't. From reading Mozart's own letters one realizes the deep level of patriatism he had for his German heritage. It was a never ending source of annoyance that in the heart of a great German empire Italian and French opera held sway and German Singspiel was relagated to such a level as it was. The composition of Die Entfuhrung was an effort on Mozart's and also Kaiser Joseph's part to establish German opera in Vienna. This was to be anything but an unimportant, incidental work.
In my view, Herr Boehm makes the fatal mistake of treating the music and the drama to lightly. More especially the parts of Pedrillo and Blonde are left devoid of any real dramatic weight, both in regards to spoken dialog but even more so with their music.
Overall the singing is not bad: Ms. Auger's interpretation of Konstanze was the highlight of the recording for me, even though her voice seemed a bit weak for an aria like Marten aller Arten. The Staatskapelle Dresden is also a good reason to considerbuy this recording.
Overall, this recording has many fine points, but is far from my favourite. My recomendation would be Sir Colin Davis' recording made for Philips that is part of the Mozart Edition. The singing and direction is far better, even if (typical for an English conductor) the orchestra is slightly deminished.
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