This groundbreaking performance seems as if it is happening in real time. At its best, and seemingly counter-intuitively, opera is at its most effective when we don’t notice that the characters are singing: such is the case here. If you know this opera, then the third of the men’s trios in scene 1 (“Una bella serenata”) will seem very fast; hearing it with fresh ears, Jacobs’ breakneck tempo seems utterly natural—these guys have been worked up into a fun/competitive frenzy and can’t wait to get started on what they think will be a grand adventure. Similarly, the little quintet before the men depart (“Di scrivermi…”) is so slow that you feel the melodrama; if they are going to play, they are going to play thoroughly, making each word and situation count.
This Così fan tutte enchanted the Baden-Baden Festspielhaus audience when recorded in concert in 2012, with Nézet-Séguin inspiring his stellar cast to feats of vocal derring-do.
An enthusiastic advocate of Mozart s music, Rolando Villazón takes on the lead tenor role. Das Opernglas hailed his debut as Ferrando, calling him ideal for the role we have not heard a more beautiful, better sung and deeper felt Un aura amorosa in a long time. Starring a thrilling cast of both young and experienced Mozart opera stars including accomplished soprano Mojca Erdmann as Despina, acclaimed Mozartian soprano Miah Persson and prize-winning young American mezzo Angela Brower as the emotionally manipulated sisters Fiordiligi and Dorabella. Also joining this crème-de-la-crème cast are distinguished Mozart bass-baritone Adam Plachetka as Guglielmo and Italian buffo baritone Alessandro Corbelli as Alfonso.
Sony Classical continues its major Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”. The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.
In the early 1990s Daniel Barenboim recorded the three Da Ponte operas with the Berlin Philharmonic. The BPO had played "Figaro" and "Don Giovanni" many times, but this was the first time that the group had ever tackled "Cosi fan tutte." Perhaps that is why they sound so fresh and energized under the thoughtful baton of Barenboim. Mozart's operas are usually performed with a small chamber or opera house orchestra, but this time the score of "Cosi" (which has so many beautiful, subtle touches, and is almost a celebration of beauty itself) is given the full treatment of perhaps the greatest orchestra in the world. While the resulting sound is somewhat "bigger" and more "lush" than is usual, Barenboim does manage to keep things appropriately light and "classical," just as he has so successfully done in the piano concertos which he is recording with the BPO.
It is more than twenty years since Solti last recorded Così for Decca, and if that earlier version was far from ideally cast, this new one more than makes amends. Above all, it has a commanding Fiordiligi in Renée Fleming, who conveys all the tragic vulnerability of this central character. Her performance of the great second-act rondo ‘Per pietà’ would be enough to melt the hardest of hearts. Anne Sofie von Otter and Olaf Bär are in fine form, too; and while Adelina Scarabelli is not exactly a mistress of disguises (she scarcely alters her voice at all for Despina’s part as the mesmeric doctor), her vitality is irresistible. More contentious is the Ferrando of Frank Lopardo. True, he can scale down his voice admirably, but all too often he lacks a genuine sense of line, and his intonation is unreliable.
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)