Cos? fan tutte, opera, K. 588: Act 1. La mia Dorabella capace non ?
Cos? fan tutte, opera, K. 588: Act 1. E' la fede delle femmine
Cos? fan tutte, opera, K. 588: Act 1. Ah, guarda, sorella
Cos? fan tutte, opera, K. 588: Act 1. Sento, oh Dio, che questo piede
Cos? fan tutte, opera, K. 588: Act 1. Oh cielo! Questo ? il tamburo funesto
Cos? fan tutte, opera, K. 588: Act 1. Soave sia il vento
Cos? fan tutte, opera, K. 588: Act 1. Ah, scostati!
Cos? fan tutte, opera, K. 588: Act 1. In uomini, in soldati sperare fedelt??
Cos? fan tutte, opera, K. 588: Act 1. Alla bella Despinetta
Cos? fan tutte, opera, K. 588: Act 1. Stelle! Che ardir!
Cos? fan tutte, opera, K. 588: Act 1. Non siate ritrosi
Cos? fan tutte, opera, K. 588: Act 1. Un'aura amorosa
Track Listings (11) - Disc #2
Cos? fan tutte, opera, K. 588: Act 1. Ah, che tutta in un momento
Cos? fan tutte, opera, K. 588: Act 1. Si mora, s?, si mora
Cos? fan tutte, opera, K. 588: Act 1. Eccovi il medico, signore belle!
Cos? fan tutte, opera, K. 588: Act 1. Dove son? Che loco ? questo?
Cos? fan tutte, opera, K. 588: Act 1. Dammi un bacio, o mio tesoro
Cos? fan tutte, opera, K. 588: Act 2. Andate l?, che siete due bizzarre ragazze!
Cos? fan tutte, opera, K. 588: Act 2. Una donna a quindici anni
Cos? fan tutte, opera, K. 588: Act 2. Prender? quel brunettino
Cos? fan tutte, opera, K. 588: Act 2. Secondate, aurette amiche
Cos? fan tutte, opera, K. 588: Act 2. La mano a me date
Cos? fan tutte, opera, K. 588: Act 2. Il core vi dono
Track Listings (11) - Disc #3
Cos? fan tutte, opera, K. 588: Act 2. Barbara! Perch? fuggi?
Cos? fan tutte, opera, K. 588: Act 2. Per piet?, ben mio, perdona
Cos? fan tutte, opera, K. 588: Act 2. Amico, abbiamo vinto!
Cos? fan tutte, opera, K. 588: Act 2. Donne mie, la fate a tanti
Cos? fan tutte, opera, K. 588: Act 2. Ora vedo che siete una donna di garbo
Cos? fan tutte, opera, K. 588: Act 2. Fra gli amplessi in pochi istanti
Cos? fan tutte, opera, K. 588: Act 2. Ah, poveretto me!
Cos? fan tutte, opera, K. 588: Act 2. Tutti accusan le donne
Cos? fan tutte, opera, K. 588: Act 2. Benedetti i doppi coniugi
Cos? fan tutte, opera, K. 588: Act 2. Miei signori, tutto ? fatto
Cos? fan tutte, opera, K. 588: Act 2. Ah, signor, son rea di morte
"At the time, the singers were just about the best available...they all sing the text pointedly and give each note-value its due. Throughout it is clear that this show has been wonderfully rehearsed and it keeps its great ... more »rhythmic verve." -ROBERT LEVINE, CLASSICSTODAY The newest release in Opera d?Oro?s Grand Tier series is of a live performance at the Salzburg Festival in 1972, with an all-star cast in one of Mozart?s greatest operas. Although everyone agrees today that Così fan tutte is one of the best in the "second tier" of Mozart?s operas, it was so unpopular for over a century that it was not only ignored, but occasionally banned. Beethoven reportedly complained that the subject was not serious enough, and subsequent critics felt the story to be too immoral to produce on a public stage. Certainly Così exhibits a prevailing amorality, even by today?s permissive standards, although modern exception to the tale is more likely to be based on its portrayal of women, not men, as the usual deceivers in love. "Boehm's conducting is first rate...in the arias, he is a master of working with the cast. The cast is excellent. janoqitz sings with authority and her voice is beautiful, contrasting nicely with Fassbaender's fine mezzo. Schreier is a notable Mozart tenor, and scores well in 'Un aura amorosa.' Prey is an ideal Guglielmo, Grist a delectable Depsina, and Fischer-Dieskau a suave, commanding Alfonso." -FANFARE« less
"At the time, the singers were just about the best available...they all sing the text pointedly and give each note-value its due. Throughout it is clear that this show has been wonderfully rehearsed and it keeps its great rhythmic verve." -ROBERT LEVINE, CLASSICSTODAY The newest release in Opera d?Oro?s Grand Tier series is of a live performance at the Salzburg Festival in 1972, with an all-star cast in one of Mozart?s greatest operas. Although everyone agrees today that Così fan tutte is one of the best in the "second tier" of Mozart?s operas, it was so unpopular for over a century that it was not only ignored, but occasionally banned. Beethoven reportedly complained that the subject was not serious enough, and subsequent critics felt the story to be too immoral to produce on a public stage. Certainly Così exhibits a prevailing amorality, even by today?s permissive standards, although modern exception to the tale is more likely to be based on its portrayal of women, not men, as the usual deceivers in love. "Boehm's conducting is first rate...in the arias, he is a master of working with the cast. The cast is excellent. janoqitz sings with authority and her voice is beautiful, contrasting nicely with Fassbaender's fine mezzo. Schreier is a notable Mozart tenor, and scores well in 'Un aura amorosa.' Prey is an ideal Guglielmo, Grist a delectable Depsina, and Fischer-Dieskau a suave, commanding Alfonso." -FANFARE
CD Reviews
A great "Cosi" overcomes sonic blemishes
Santa Fe Listener | Santa Fe, NM USA | 05/25/2009
(5 out of 5 stars)
"Karl Bohm more or less owned "Cosi," which he recorded three times, the most notable being his classic 1963 account on EMI with Schwarzkopf reprising hr famous portrayal of Fiordiligi. Why, then, would you want a live 1972 pirate recording? The main reason is one of temperament. In the EMI recording, everything is refined and elegant to a fault. We have come to realize that "Cosi" is highly compromised morally. Da Ponte's cyncial misogynist libretto puts none of the characters in a flattering light. In this performance, they all seem to know that their behavior is reckless, seamy, and tainted. As a result, we get some sharp, even bitter characterizations, especially form tenor Peter Schreier, who all but shouts out his rage at being cuckolded. As Don Alfonso, Fischer-Dieskau is an overpowering figure, not at all the suave, chuckling mischief-maker.
The combination of malice and farce is heightened, which could be a problem for some listeners who want more of Mozart's humanity to shine through. But I found the acidity exhilarating -- da Ponte's scheme is truly nasty, so why not play it that way? Needless to say with such a glorious cast, the singing is glorious, even though the orchestra has its share of flubbs. Janowitz'a Fiordiligi is a miracle of range, beauty, and accuracy. Has anyone ever done better? The recorded sound is clear stereo, but you have to put up with a touch of distortion in loud passages and a light veil of fuzziness throughout.
DG made an official recording using the same cast two years later in 1974, with the substitution of Rolando Panerai for Fischer-Dieskau. It, too, is a live performance with stage noises and applause, as here, and critics have found it equally fierce in conception. Either choice carries you into a darker world redeemed by very beautiful singing."
Poor Recording Quality/Excellent Singing
J. M. Barclay | 04/21/2009
(3 out of 5 stars)
"This is a case where the performers do an excellent job in singing, however the recording is live, it has not been Digitally Remastered and the overall sound does not give you the true quality of the voices nor the orchestration. I would suggest this recording to those who are looking to solely here these artists in the recording and nothing more. If you're looking for an excellent recording I would suggest the one by Deutsche Gramaphone with Hampson, Te Kanawa, Murray, Furlanetto, and Levine conducting."