John Eliot Gardiner, The English Baroque Soloists - Wolfgang Amadeus Mozart: La clemenza di Tito (1991)
John Eliot Gardiner, The English Baroque Soloists - Wolfgang Amadeus Mozart: La clemenza di Tito (1991)
EAC | FLAC | Image (Cue & Log) ~ 471 Mb | Total time: 58:20+59:44 | Scans included
Classical | Label: Archiv Produktion | # 431 806-2 | Recorded: 1990
EAC | FLAC | Image (Cue & Log) ~ 471 Mb | Total time: 58:20+59:44 | Scans included
Classical | Label: Archiv Produktion | # 431 806-2 | Recorded: 1990
Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.
As with his Award-winning idomeneo Gardiner favours brisk rhythms, alert, prominent wind and brass, swift tempos. Yet in the great setpieces there is more than enough time for expressive phrasing and licence for the singers to use rubato when they wish. Above all there is an overriding sense of a true ensemble with chorus, orchestra and soloists in complete harmony.
Comparisons are hardly relevant when the whole approach here is so much lighter, more period-orientated than in the rival versions. They are all convincingly cast—the piece seems to draw the best from its interpreters—but none is superior, though one or other is in some respects the equal of the one assembled here. Schreier for Böhm (DG) is as affecting and, in Act 2, as mentally tormented as Rolfe Johnson, who completes a double with his other anguished ruler, Idomeneo. He makes a convincingly clement Emperor and one rightly amazed at his best friend's treachery—listen to the accompanied recitative near the beginning of Act 2 to judge how sympathetically he accents notes and words. His account of "Se all'impero", that properly trenchant exposition of Tito's credo, is technically assured. As in Idomeneo Rolfe Johnson is more than worthily partnered by Anne Sofie von Otter as Sextus. The rapport between them is heartening. Von Otter also scores strongly in accompanied recitative, the passage after Sextus has set the Capitol alight and becomes full of doubt and terror. Sextus's arias have had some splendid performances in previous sets, notably from Teresa Berganza on the Kertész (Decca) and Böhm versions, but nobody seems as fleet in her runs, so subtle in using them for emotional expression as von Otter. She is also a wonderful purveyor of the text's meaning. Her voice is nicely contrasted with the rather slimmer tones of Catherine Robbin as Annius, who is another Mozartian stylist of substance.
Julia Varady, who was Böhm's Vitellia, is even more enthralling here. She manages to be at once bitingly jealous, manipulative, sensual and in the end remorseful, her very individual soprano used to create a rounded, complex character. As with Rolfe Johnson and von Otter her treatment of dry recitative is arrestingly vital. Her reading culminates in an accomplished account of "Non piü di fiori", untroubled by its low-lying phrases. Sylvia McNair, singing with her customary sweetness as Servilia, sacrifices character to purity of tone; in a word her singing is bland. The admittedly dull role of Publio is not helped by Cornelius Hauptmann's woolly singing.
Gardiner cuts much more recitative than Sir Colin Davis (Philips) who offers the fullest text recorded. As it isn't by Mozart that's of small consequence except where we are here thrust too suddenly into the trio "Quello di Tito" in Act 2. The Monteverdi Choir offers just the right urgency and compact sound. One or two slightly ill-kempt passages apart, the playing is as disciplined as it is attentive to keenness of phrasing. The obbligato players are all masterly. We have execution on period instruments that surely must banish all doubts about their use in Mozart. For that reason alone this would now be my recommended version, but to compound pleasure and satisfaction, Mozart's music-drama, once considered marmoreal, here sounds worthy to stand alongside Idomeneo in the opera seria canon.–Gramophone
Performer:
Tito Vespasiano - Anthony Rolfe Johnson
Vitellia - Julia Varády
Servilia - Sylvia McNair
Sesto - Anne Sofie von Otter
Annio - Catherine Robbin
Publio - Cornelius Hauptmann
The Monteverdi Choir
The English Baroque Soloists
Conductor - John Eliot Gardiner
Tracklist:
CD1:
01. Overture
Atto Primo
02. Recitativo: Ma ché? sempre l'istesso (Vitellia, Sesto)
03. Duetto: Come ti piace imponi - Fan mille affetti insieme (Sesto, Vitellia)
04. Recitativo: Amico, il passo affretta (Annio, Vitellia, Sesto)
05. Aria: Deh, se piacer mi vuoi (Vitellia)
06. Recitativo: Amico, ecco il momento (Annio, Sesto)
07. Duettino: Deh, prendi un dolce amplesso (Annio, Sesto)
08. Marcia
09. Coro: Serbate, oh Dei custodi
10. Recitativo: Te della patria il Padre (Publio, Annio, Tito)
11. Coro da capo: Serbate, oh Dei custodi
12. Recitativo: Adesso, oh Sesto, parla per me (Annio, Sesto, Tito)
13. Aria: Del più sublime soglio (Tito)
14. Recitativo: Non ci pentiam (Annio, Servilia)
15. Duetto: Ah, perdona al primo affetto (Annio, Servilia)
16. Recitativo: Servilia! Augusta! (Tito, Servilia)
17. Aria: Ah, se fosse intorno al trono (Tito)
18. Recitativo: Felice me! (Servillia, Vitellia) - Ancora mi schernisce? (Vitellia, Sesto)
19. Aria: Parto, ma tu ben mio (Sesto)
20. Recitativo: Vedrai, Tito, vedrai (Vitellia, Publio, Annio)
21. Terzetto: Vengo… aspettate… Sesto!… (Vitellia, Annio, Publio)
22. Recitativo accompagnato: Oh Dei, che smania è questa (Sesto)
23. Quintetto con Coro: Deh, conservate, oh Dei (Sesto, Annio, Servilia, Coro, Publio, Vetellia)
CD2:
Atto Secondo
01. Recitativo: Sesto, come tu credi (Annio, Sesto)
02. Aria: Torna di Tito a lato (Annio)
03. Recitativo: Partir deggio, o restar? (Sesto, Vitellia) - Sesto! … Che chiedi? (Publio, Sesto, Vitellia)
04. Terzetto: Se al volto mai ti senti (Sesto, Vitellia, Publio)
05. Coro: Ah, grazie si rendano (Coro, Tito) - È tutto colà d'intorno (Publio, Tito)
06. Aria: 'Tardi s'avvede d'un tradimento' (Publio)
07. Recitativo: No, così scellerato (Tito, Annio) / Cesare, nol diss'io' (Publio, Tito, Annio)
08. Aria: Tu fosti tradito (Annio)
09. Recitativo accompagnato: Che orror! che tradimento! (Tito)
10. Terzetto: Quello di Tito è il volto! (Sesto, Tito, Publio) / Recitativo: Odimi, oh Sesto (Tito, Sesto)
11. Rondo: Deh per questo istante solo (Sesto)
12. Recitativo: Dove s'intese mai più contumace infedeltà? (Tito) - Publio. … Cesare. (Tito, Publio)
13. Aria: Se all'impero, amici Dei (Tito)
14. Recitativo: Ah, Vitellia! … Ah, principessa! (Servilia, Annio, Vitellia)
15. Aria: S'altro che lacrime per lui non tenti (Servilia)
16. Recitativo accompagnato: Ecco il punto, oh Vitellia (Vitellia)
17. Rondo: Non più di fiori vaghe catene (Vitellia)
18. Coro: Che del ciel, che degli Dei
19. Recitativo: Sesto, de' tuoi delitti (Tito, Vitellia, Sesto, Servilia, Annio, Publio) - Recitativo accompagnato: Ma che giorno è mai questo? (Tito)
20. Sestetto con Coro: Tu, è ver, m'assolvi, Augusto (Sesto, Tito, Vitellia, Servilia, Annio, Publio, Coro)
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. October 2014, 1:04
John Eliot Gardiner / Mozart - La clemenza di Tito (CD 1)
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[31160193] (1/1) Differs in 12215 samples @00:00:32-00:00:43
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Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. October 2014, 1:40
John Eliot Gardiner / Mozart - La clemenza di Tito (CD 2)
Used drive : MATSHITADVD-RAM UJ8C2 S Adapter: 0 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 103
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
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Extraction speed 4.2 X
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John Eliot Gardiner, The English Baroque Soloists - Wolfgang Amadeus Mozart: La clemenza di Tito (1991)
Thanks to the original releaser