Esoteric Japan released a Hybrid SACD box set of Mozart: 9 Symphonies on December 15, 2015.
The Originals Series offers listeners the opportunity to explore key albums from the Yellow Labels LP era and experience the power and passion of performances by a host of visionary artists. Now DG welcomes ten new titles to the range, including some of Karl Böhms recordings of Mozart wind concertos which have always been considered among the best. Here, the Wiener Philharmoniker principal Gunter Hogner demonstrates his skill and agility on the Viennese horn in Mozarts four horn concertos. Günter Högner plays with much character, and no-one will be disappointed with the DG issue, which is beautifully recorded and has splendid accompaniments from the WP under Böhm.
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
This DVD of Ariadne is a 1978 film based on Filippo Sanjust’s Vienna State Opera production. The bustling Prologue is set in the backstage area of the mogul’s palace and the 18th century costumes fit neatly. In the opera proper, the stage is transformed into a very stagey desert island with an improbable set of stairs leading to the heroine’s cave, the action spilling over into the theatre’s side boxes at times. While there’s nothing particularly imaginative about the production, it never distracts from the main event–the music. Strauss was profligate in his melodic gifts, his ability to make a reduced orchestra sound big, and his wonderful obsession with the female voice, which yields many glorious moments in the opera. Lavish casting helps.