For someone who would like to explore Mozart's music and/or learn more about his life, this documentary will be an excellent source of both. The viewers can listen to Mozart's compositions in a chronological order mostly and hear the progression of his composition skills. And how fast he progresses! The documentary showcases a wide range of musical genres–sonatas, concerti, symphonies, operas, motets, string quartets, and more. World-class musicians and conductors explain the technical aspects of certain pieces and talk about the emotions they evoke. We also journey through Mozart's life following some excerpts of his and his parents' letters and video clips of the cities he visited during his lifetime.
Considered the greatest composer of all time, Mozart is without doubt one of history’s most remarkable men. But what do we really know about him? In Search of Mozart, directed by the multi award-winning film-maker Phil Grabsky, reveals the complexities of the man and his music through the letters of Mozart himself, his family and friends. This is the definitive Mozart feature documentary, filmed in ten countries throughout Europe, and made in association with the world’s leading orchestras, opera houses, musicians and historians. This DVD edition of the full-length film is a must for any music lover.
Produced with the world’s leading orchestras and musicians, the prolific composer’s story is told through a 25,000 mile journey along every route Mozart followed.
The old philosopher Don Alfonso enrages his two friends, the officers Ferrando and Guglielmo, with his claim that their fiancées will sooner or later be unfaithful to them - like all women. He proposes a wager, which the two friends accept. They swear on their honour as soldiers that they will prove him wrong and that Dorabella and Fiordiligi are not like “all women”. The immaculately restored eighteenth-century Court Theatre at the country residence of the Swedish Royal Family is the ideal home for period opera. Ever since Drottningholm Court Theatre was rediscovered in the 1920s, it has served as a living memorial to the fabulous extravagance of courtly entertainment and provided the wherewithal for the recreation of the spectacular scenic transformations of the seventeenth and eighteenth century operatic repertoire. The conductor Arnold Östman was appointed Drottningholm’s Artistic Director in 1980 and immediately set about establishing a Drottningholm Mozart style, attempting to recapture an authentic flavour through detailed historical research and the use of period instruments. He collaborates with German producer Willy Decker on this ever-popular Mozart comedy with an extensively rehearsed cast of young Swedish singers who “…proved a triumph of stylish teamwork, with singers and orchestra listening to each other, almost as it were breathing together.” (Daily Telegraph)
It may be rash to claim that the French pianist Monique Haas (1909-1987) never made a bad recording, but you won't find one among her complete DG sessions. Dating from the late 1940s up to 1965, the recordings have been transferred from scratch, and they sound remarkably well for their respective vintages. The repertoire is diverse and unhackneyed, ranging from Mozart piano duets (with Heinz Schröter) and K. 449 and K. 488 concertos, rare Haydn gems (the E-flat Arietta with Variations and the Fantasia in C major), and the Stravinsky Capriccio, to Hindemith's Concert Music for piano, brass and harps (with the composer conducting), and a substantial sonata by Marcel Mihalovici (the pianist's husband) featuring violinist Max Rostal.
Set in classical antiquily, Mozart’s "Il re pastore" tells of the thwarted love of Aminta (the innocent ‘shepherd king’ of the title) for the well-born Elisa, and that of the nobleman Agenore for the deposed tyrant’s daughter Tamiri. No less a figure than Alexander the Great resolves these conflicts of private passion and public status. First performed in Salzburg in 1775, Sir Neville Marriner conducts a top international cast in this 1989 production of the opera from Salzburg’s Landestheater.
One hates to admit it, but at this point in his career, pianist Maurizio Pollini is no longer a Mozart player. Although a supreme virtuoso, a passionate intellectual, and a consummate artist, Pollini has grown too brilliant, too intense, and too calculating for Mozart. Pollini's tone is crystalline, his textures are transparent and his tempos are perfect in this breathtaking 2005 recording of the G major and C major piano concertos, but it all seems too cold and too objective. Although he is also directing the Wiener Philharmoniker from the piano, this doesn't seem to encumber Pollini's virtuosity in any way; indeed, he appears to enjoy the challenge, audibly coaxing more force from the musicians' playing.