Mozart: Die Zauberflote - Gruberova, Bonney, Salminen [Harnoncourt] [2 CD]

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Mozart - Die Zauberflöte [Harnoncourt]
Classical (opera) | 2 CD | APE + CUE | NO Logs | Easy CD-DA Extractor 12 rip | No Scans | 529 mb | RS + SM | TT 02:23:43
Released: 1988 | Label: Teldec Warner

Edita Gruberova, Barbara Bonney, Matti Salminen, Anton Scharinger, Hans-Peter Blochwitz
Chor und Orchester des Opernhauses Zürich, Nikolaus Harnoncourt (conductor)

The world of opera is well aware of the unutterably superb Edita Gruberova. She is widely (almost universally) considered the greatest Königen der Nacht in the world. Her accuracy, beauty of voice, dazzling speed and absolute vocal control, as well as her extraordinary vocal range which EASILY encompasses the notorious top F, are part of what makes her so very highly esteemed. Her performance in this recording is vivid, fiendish and exciting.

Barbara Bonney as the sweet Pamina is completely delightful. Her pure lyric voice is ideal for this role, and it conveys everything necessary for the character of this unfortunately beset young maiden who's got possibly the most terrifying mother in operatic plots. The spin and beauty in Ms Bonney's voice are so wonderfully apparent in her singing here that it's easy to understand why she has reigned as one of the world's great light lyric sopranos for years.

Hans-Peter Blochwitz is one of the best Taminos around. It's a lovely tone, of course, and he handles the tessitura of the role beautifully. The voice is both very masculine and wonderfully pure - qualities very necessary for Mozartian tenors.

Matti Salminen as the authoritative Salminen, who turns out not to be the villain after all, sings the role with suitable magnificence. It's a very good voice - perhaps not the best Sarastro in the world, but then, Sarastro's been sung by the choice basses. Salminen holds his own in this star-studded cast.

And what a cast! Even the smaller roles receive the star treatment. Thomas Hampson as the Sprecher, Delores Ziegler and Marjana Lipovsek as two of the Damen, Thomas Moser as the Erster Geharnischter… the list goes on. And Papageno himself is sung delightfully by Anton Scharinger.

Nikolaus Harnoncourt conducts - as always, it is an intelligent conception. The Orchester (Orchester des Opernhauses Zürich) is splendid, and the the chorus does a wonderful job.

This is a recording to treasure. There is so much that is delightful in it. There are other good recordings, but I certainly wouldn't want to be without this one, and not only for the peerless Edita Gruberova's Queen of the Night. – Amazon customer

Disc 1
1. Ouverture
2. Act 1. No. 1. Introduction. Zu Hilfe! zu Hilfe! sonst bin ich verloren
3. Act 1. Zwischentext
4. Act 1. No. 2. Aria. Der Vogelfänger bin ich ja
5. Act 1. Zwischentext
6. Act 1. No. 3. Aria. Dies Bildnis ist bezaubernd schön
7. Act 1. Zwischentext
8. Act 1. No. 4. Recitativo ed Aria. O zittre nicht, mein lieber Sohn
9. Act 1. Zwischentext
10. Act 1. No. 5. Quintetto. Hm! hm! hm!
11. Act 1. Zwischentext
12. Act 1. No. 6. Terzetto. Du feines Täubchen
13. Act 1. Zwischentext
14. Act 1. No. 7. Duetto. Bei Männern, welche Liebe fühlen
15. Act 1. Zwischentext
16. Act 1. No. 8. Finale. Zum Ziele führt dich diese Bahn
17. Act 2. No. 9. Marcia
18. Act 2. Zwischentext
19. Act 2. No. 10. Aria con coro. O Isis und Osiris

Disc 2
1. Act 2. Zwischentext
2. Act 2. No. 11. Duetto. Bewahret euch vor Weibertücken
3. Act 2. Zwischentext
4. Act 2. No. 12. Quintetto. Wie? wie? wie? ihr an diesem Schreckensort?
5. Act 2. Zwischentext
6. Act 2. No. 13. Aria. Altes fühlt der Liebe Freuden
7. Act 2. Zwischentext
8. Act 2. No. 14. Aria. Der Hölle Rache kocht in meinem Herzen
9. Act 2. Zwischentext
10. Act 2. Aria. In diesen heil'gen Hallen kennt man die Rache nicht!
11. Act 2. Zwischentext
12. Act 2. No. 16. Terzetto. Seid uns zum zweiten Mal willkommen
13. Act 2. Zwischentext
14. Act 2. No. 17. Aria. Ach ich fühl's, es ist verschwunden!
15. Act 2. Zwischentext
16. Act 2. No. 18. Chor der Priester. O Isis, und Osiris, welche Wonne!
17. Act 2. Zwischentext
18. Act 2. No. 19. Terzetto. Soll ich dich Teurer nicht mehr sehn?
19. Act 2. Zwischentext
20. Act 2. No. 20. Aria. Ein Mädchen oder Weibchen
21. Act 2. Zwischentext
22. Act 2. No. 21. Finale. Bald prangt, den Morgen zu verkünden

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