Mozart & Rossini Arias | |
---|---|
Studio album by Frederica von Stade | |
Released | 1976 |
Studio | De Doelen, Rotterdam and Grande Salle, Épalinges, Switzerland (second version only) |
Genre | Opera |
Length | 52:36 (first and third versions), 69:10 (second version) |
Language | Italian |
Label | Philips (first and second versions), PentaTone Classics (third version) |
Producer | Wilhelm Hellweg |
Mozart & Rossini Arias | |
Frederica von Stade sings Mozart & Rossini Arias is a 52-minute studio album of operatic arias performed by von Stade and the Rotterdam Philharmonic Orchestra under the direction of Edo de Waart. It was released in 1976. [1] A second, 69-minute version of the album, Frederica von Stade: Haydn, Mozart & Rossini Arias, released by Philips on CD, adds bonus tracks derived from von Stade's contributions to Antal Doráti's recordings of Joseph Haydn's operas La fedeltà premiata and Il mondo della luna . [2] [3] [4] A third, 52-minute version released on SACD by PentaTone in 2005 reverts to the contents (and title) of the first version, but presents the music in quadraphonic surround sound. [1]
The Mozart and Rossini music common to all three versions of the album was recorded using analogue technology in quadrophonic (4-channel) sound in September 1975 in De Doelen, Rotterdam. [1] The second version's music from Joseph Haydn's operas La fedeltà premiata and Il mondo della luna was recorded using analogue technology in June 1975 and September 1977 respectively in the Grande Salle, Épalinges, Switzerland. [3] [4]
The cover of the first version of the album features a photograph of von Stade taken by her first husband, Peter Elkus. [5] (When von Stade and Elkus divorced, he cited his contributions to her album covers in his successful litigation to secure a share of her future earnings. [6] ) The cover of the second version features a photograph of von Stade taken by Mike Evans. [2] The cover of the third version, designed by Netherlads, features a photograph of von Stade taken by Marcia Lieberman. [1]
Alan Blyth reviewed the first version of the album on LP in Gramophone in February 1977. If he were in charge of an opera house, he wrote, he would be eagerly planning a staging of Rossini's Otello, That was how much he had been enthused by hearing Frederica von Stade's performance of Rossini's version of Desdemona's Willow Song scene. To understand his excitement, readers had only to "listen how her voice runs delicately through the phrase 'Salce d'amor delizia' ending with a heartrending diminuendo ... or how affectingly she touches in the recitative, or how she rightly allows a little harshness into her lovely tone in the word 'l'ingrato' or covers it for the Prayer". These details were no doubt the result of meticulous design, and yet von Stade's execution of them felt wholly free of artifice. [7]
Her characterization of Angelina, the Cinderella of La Cenerentola, was just as vivid a portrait (and based, thankfully, on a modern, scholarly edition of Rossini's score). The roulades of the opera's concluding scene were delineated with precision. When the La Scala company had recently brought their production of La Cenerentola to Covent Garden, Lucia Valentini Terrani had presented Angelina's music with "a fearsome and speedy brilliance"; von Stade, "forgetting and forgiving in her final Rondo", offered "a tender lightness that is just as winning". [7]
Von Stade had also recently sung Rossini at the Royal Opera House, debuting there as Rosina in Il barbiere di Siviglia. Her recording of "Una voce poco fà" was "as bewitchingly as on stage". Her Rosina was mischievous and flirtatious, but had a gentleness about her too, as well as a rapid vibrato that was rather appealing. [7]
All three items on the A side of the LP were very effective dramatically. The B side began with a portrayal of Mozart's Cherubino that was no less compelling. Just as she had when appearing in Le nozze di Figaro at Glyndebourne, von Stade brought us "a palpitating youth - swooning, too, in a nicely easy-going and varied 'Voi che sapete'". And her "tender, seductive" Zerlina from Don Giovanni was a girl whose embraces nobody could resist. [7]
La clemenza di Tito was the one work that von Stade drew on with less than total success. In Sesto's "Parto, parto", she was perfect - she sang its striking divisions accurately but without ostentation, and she conveyed all of Sesto's "sincerity and faith". But her reading of Vitellia's "Non più di fiore" paled by comparison with that of Janet Baker in a recent staging at Covent Garden. Baker had sung the role with a "variety of colour and nuance" that von Stade could not equal. Von Stade might make a convincingly "scheming, nasty" Vitellia one day, but that day had not come yet. [7]
Teresa Rieu was a graceful harpist accompanying Desdemona, and Bas de Jong was an unimpeachable clarinetist accompanying Sesto. George Pieterson was adroit but "less advantageously placed" with his basset-horn in Vitellia's aria. The Rotterdam Philharmonic Orchestra and Edo de Waart were proficient but not outstanding. Philips's engineers had put von Stade so close to her microphone that one could hear her breathing, but their balancing worked very well. [7]
George Jellinek reviewed the first version of the album on LP as a "recording of special merit" in Stereo Review in May 1977. Frederica von Stade, he wrote, had followed her first operatic recital - her Columbia disc of French Opera Arias - with a sequel of music in which she was altogether at home. Her record's B side, devoted to Mozart, was marginally better than its Rossinian side A. [8]
Her "breathlessly amorous Cherubino" had been relished on stage in both America and Europe, and was just as enjoyable on her album. The timbre of her high mezzo-soprano voice was ideally suited to Zerlina. And she sang "expertly and elegantly" in her two excerpts from La clemenza di Tito. [8]
In her Rossini selections, she performed "winningly" both in Desdemona's sorrowful music and in Angelina'a and Rosina's pyrotechnic bel canto showpieces. But her technique was not altogether beyond reproach. On the one hand, her fioriture in La Cenerentola and in Il barbiere di Siviglia (as in Mozart's "Parto. parto") lacked the superlative precision achieved by Janet Baker, Teresa Berganza and Marilyn Horne. On the other hand, her Rosina, while characterful, did not sound as spontaneous as was desirable. [8]
Bas de Jong and George Pieterson both negotiated their tricky obbligato woodwind parts adeptly. The playing of the Rotterdam Philharmonic Orchestra was "nicely articulated and warm". Conducting, Edo de Waart set far too slow a tempo for Desdemona. Philips's audio quality was very good. [8]
Profiling von Stade in Time magazine (13 December 1976), the unnamed author wrote that the album displayed "a lustrous amber mezzo-soprano voice with an unusually sweet crystalline top and seemingly effortless agility". [9] The album was also reviewed in The complete Penguin stereo record and cassette guide, which reported that "Frederica von Stade is, as always, magically compelling here, both in vocal personality and in ... vocal production". [10]
The album was nominated for a Grammy award for the best classical solo vocal performance of 1977. [11] Alan Blyth included the album in his 1977 Gramophone Critics' Choice list of the best recordings of the year. [12]
Philips LP (9500-098) and PentaTone SACD (5186-158)
Gioachino Rossini (1792-1868)
Il barbiere di Siviglia, ossia L'inutile precauzione ("The barber of Seville, or The useless precaution", Rome, 1816), with a libretto by Cesare Sterbini (1784-1831) after Le Barbier de Séville (1775) by Pierre Beaumarchais (1732-1799)
Otello, ossia Il moro di Venezia ("Othello, or The Moor of Venice", Naples, 1816), with a libretto by Francesco Maria Berio, Marchese di Salsa, after The tragedy of Othello, the Moor of Venice (?1603) by William Shakespeare (1564-1616)
La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness triumphant", Rome, 1817), with a libretto by Jacopo Ferretti (1784-1852) after Cendrillon, ou la petite pantoufle de verre ("Cinderella, or The little glass slipper", 1697) by Charles Perrault (1628-1703)
Wolfgang Amadeus Mozart (1756-1791)
Le nozze di Figaro ("The marriage of Figaro", K. 492, Vienna, 1786), with a libretto by Lorenzo da Ponte (1749-1838) after La folle journée, ou le Mariage de Figaro ("The mad day, or The marriage of Figaro", 1784) by Pierre Beaumarchais (1732-1799)
La clemenza di Tito ("The clemency of Titus", K. 621, Prague, 1791), with a libretto by Caterino Mazzolà (1745-1806) after Pietro Metastasio (1698-1782)
Il dissoluto punito, ossia il Don Giovanni ("The rake punished, or Don Giovanni", K. 527, Prague, 1787), with a libretto by Lorenzo da Ponte after El burlador de Seville y convidado de piedra ("The trickster of Seville and the stone guest", ?1616) by Tirso de Molina (1579-1648)
La clemenza di Tito
Philips CD (420-084-2)
Joseph Haydn (1732-1809)
La fedeltà premiata ("Fidelity rewarded", Hob. XXVIII/10, Eszterháza, 1781), with a libretto by Haydn and an unknown colleague after L'infedeltà fedele by Giambattista Lorenzi
Il mondo della luna ("The world on the moon", Hob. XXVIII/7, Eszterháza, 1777), with a libretto after Carlo Goldoni (1707-1793)
Wolfgang Amadeus Mozart
Le nozze di Figaro
La clemenza di Tito
Don Giovanni
La clemenza di Tito
Gioacchino Rossini
Il barbiere di Siviglia
Otello
La Cenerentola
In 1976, Philips released the first version of the album on a stereo LP (catalogue number 9500-098), with sleeve notes, texts and translations; a mistake wrongly credited the harpist Teresia Rieu with accompanying Angelina rather than Desdemona. [5] The album was also issued on cassette (catalogue number 7300-511). [13]
Philips issued the second version of the album on CD only (catalogue number 420-084-2), packaging the disc in a slipcase with a 44-page booklet of texts and translations and notes by J F. Mastroianni. [2] In 2005, PentaTone Classics issued the album as a 4-channel SACD (catalogue number 5186-158), with a 36-page booklet with texts and translations and notes by Jean Marie Geijsen and Franz Steiger. [1]
(A compilation album titled Frederica von Stade: Rossini, Haydn, Mozart, released by Philips on LP [catalogue number 9500-716] and cassette [catalogue number 7300-807] in 1979, includes the four Haydn numbers that feature on the second version of the present album and shares its cover art, but is otherwise unrelated to it. Its other contents are one further excerpt from von Stade's recording of Il mondo della luna and some numbers from her complete recordings of La clemenza di Tito and Rossini's Otello . [14] [15] )
Edo de Waart is a Dutch retired conductor. He is Music Director Laureate of the Milwaukee Symphony Orchestra. De Waart is the former music director of the New Zealand Symphony Orchestra (2016-2019), chief conductor of the Royal Flemish Philharmonic (2011-2016) and Artistic Partner with the St. Paul Chamber Orchestra (2010-2014).
The Rotterdam Philharmonic Orchestra is a Dutch symphony orchestra based in Rotterdam. Its primary venue is the concert hall De Doelen. The RPhO is considered one of the Netherlands' two principal orchestras of international standing, second to the Royal Concertgebouw Orchestra of Amsterdam. In addition to symphony concerts, the RPhO performs as the opera orchestra in productions at De Nederlandse Opera, as do other Dutch ensembles.
La clemenza di Tito, K. 621, is an opera seria in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. Mozart completed the work in the midst of composing Die Zauberflöte, his last opera. La clemenza di Tito premiered on 6 September 1791 at the Estates Theatre in Prague.
Cecilia BartoliOMRI is an Italian mezzo-soprano widely known in the music of Bellini, Handel, Mozart, Rossini and Vivaldi and for lesser-known music of the Baroque and Classical periods. She has also sung soprano and alto repertory.
Frederica von Stade is a semi-retired American classical singer. Best known for her work in opera, she was also a recitalist and concert artist, and she recorded more than a hundred albums and videos. She is especially associated with operas by Mozart and Rossini, and also with music by French and American composers, most notably Jake Heggie. A Chevalier of France's Ordre des Arts et des Lettres, twice the winner of a Grand Prix du Disque and nominated nine times for a Grammy award, she is widely regarded as the pre-eminent lyric mezzo-soprano of her generation.
Barbara Frittoli is an Italian operatic soprano, specializing in operas by Verdi and Mozart. She has sung leading roles in opera houses throughout Europe and in the United States, such as La Scala in Milan and the Metropolitan Opera in New York. Her signature roles include Mimì in La bohème, the Countess in The Marriage of Figaro, Donna Elvira in Don Giovanni, Desdemona in Otello.
Joyce DiDonato is an American opera singer and recitalist. A coloratura mezzo-soprano, she has performed operas and concert works spanning from the 19th-century Romantic era to those by Handel and Mozart.
George Pieterson was a Dutch clarinetist.
Italian Opera Arias is a studio album of music by Frederica von Stade, Janice Taylor and the National Arts Centre Orchestra under the direction of Mario Bernardi. It was released in 1979.
Le nozze di Figaro is a 168-minute studio recording of Wolfgang Amadeus Mozart's opera of the same name, performed by a cast of singers headed by Sir Thomas Allen, Jane Berbié, Yvonne Kenny, Philip Langridge, Kurt Moll, Lucia Popp, Samuel Ramey, Frederica von Stade, Robert Tear and Dame Kiri Te Kanawa with the London Philharmonic Orchestra under the direction of Sir Georg Solti. It was released by Decca in 1982.
Judith Blegen & Frederica von Stade: Songs, Arias & Duets is a 42-minute studio album of art songs, art duets and operatic arias performed by Blegen and von Stade with members of the Chamber Music Society of Lincoln Center. It was released in 1975.
Frederica von Stade chante Monteverdi & Cavalli is a 48-minute studio album of arias by Francesco Cavalli and songs and arias by Claudio Monteverdi, performed by von Stade with the Scottish Chamber Orchestra under the direction of Raymond Leppard. It was released in 1985. A second, 54-minute version of the album, released in 1995 as Recital: Frederica von Stade: Cavalli, Monteverdi & Mozart Arias, added two bonus arias taken from Erato's 1978 recording of Mozart's Così fan tutte, on which von Stade sang Dorabella with the Orchestre Philharmonique de Strasbourg under Alain Lombard.
Der Rosenkavalier is a 206-minute studio album of Richard Strauss's opera, performed by a cast led by Jules Bastin, José Carreras, Derek Hammond-Stroud, Evelyn Lear, Frederica von Stade, and Ruth Welting with the Rotterdam Philharmonic Orchestra under the direction of Edo de Waart. It was released in 1977.
Otello is a 153-minute studio album of Gioachino Rossini's opera Otello, performed by José Carreras, Nucci Condò, Salvatore Fisichella, Alfonso Leoz, Keith Lewis, Gianfranco Pastine, Samuel Ramey and Frederica von Stade with the Ambrosian Chorus and the Philharmonia Orchestra under the direction of Jesús López Cobos. It was released in 1979.
The Rossini Bicentennial Birthday Gala is a live album of operatic and sacred music by Gioachino Rossini, performed by Rockwell Blake, Craig Estep, Maria Fortuna, Thomas Hampson, George Hogan, Marilyn Horne, Kathleen Kuhlmann, Mimi Lerner, Chris Merritt, Jan Opalach, Samuel Ramey, Henry Runey, Frederica von Stade, Deborah Voigt, the Concert Chorale of New York and the Orchestra of St. Luke's under the direction of Sir Roger Norrington. It was released in 1993 as a 119-minute video album and in 1994 as a 78-minute CD.
La clemenza di Tito is a 127-minute studio album of the opera by Wolfgang Amadeus Mozart, performed by Dame Janet Baker, Stuart Burrows, Robert Lloyd. Yvonne Minton, Lucia Popp and Frederica von Stade with the Chorus and Orchestra of the Royal Opera House, Covent Garden, under the direction of Sir Colin Davis. It was released in 1977.
Il mondo della luna is a 211-minute studio album of Joseph Haydn's opera, performed by Luigi Alva, Arleen Augér, Anthony Rolfe Johnson, Edith Mathis, Frederica von Stade, Lucia Valentini Terrani and Domenico Trimarchi with the Chœurs de la Radio Suisse Romande and the Orchestre de Chambre de Lausanne under the direction of Antal Doráti. It was released on LP in 1978 and on CD in 1992. Its CD version included nine bonus arias of Haydn's, mostly written to be inserted into other composers' works, performed by Mathis and the Orchestre de Chambre de Lausanne under the direction of Armin Jordan.
Le nozze di Figaro is a 169-minute studio album of Wolfgang Amadeus Mozart's opera, performed by Christiane Barbaux, Jules Bastin, Jane Berbié, Ileana Cotrubas, José van Dam, Zoltan Kélémén, Tom Krause, Marjon Lambriks, Frederica von Stade, Anna Tomowa-Sintow and Heinz Zednik with the Chorus of the Vienna State Opera and the Vienna Philharmonic under the direction of Herbert von Karajan. It was recorded in April 1978 and released in 1979.
La fedeltà premiata is a 162-minute studio album of Joseph Haydn's opera, performed by Luigi Alva, Ileana Cotrubas, Tonny Landy, Kari Lövaas, Maurizio Mazzieri, Frederica von Stade, Lucia Valentini Terrani and Alan Titus with the Chœurs de la Radio Suisse Romande and the Orchestre de Chambre de Lausanne under the direction of Antal Doráti. It was released in 1976.
Glyndebourne Festival Opera: A Gala Evening was a 111-minute concert staged by Glyndebourne Festival Opera on 24 July 1992, performed by Kim Begley, Montserrat Caballé, Cynthia Haymon, Felicity Lott, Benjamin Luxon, Ruggero Raimondi and Frederica von Stade with the Glyndebourne Festival Chorus and the London Philharmonic Orchestra under the direction of Sir Andrew Davis and Sir Bernard Haitink. It was televised in the United Kingdom by the BBC and released on VHS Videocassette by Kultur Video and on DVD by Image Entertainment, Arthaus Musik and Geneon.