Arleen Augér & Edita Gruberová – Duet Aspasia – Sifare – “Se viver non degg’io” from “Mitridate Re di Ponto” by W. A. Mozart. Mozarteum Orchester of Salzburg M.° Leopold Hager – Conductor. … “Ah! M’uccidesse adesso l’eccesso del dolor!”
After Gluck the first great name is that of Wolfgang Amadeus Mozart (1756-1791). Haydn had indeed written a number of operas, but they were, in the main, light in character and exercised no influence what-ever on the development of the form. At the age of twelve, Mozart had composed two operas, but the first to […]
Rosa Ponselle (January 22, 1897 – May 25, 1981) – Soprano – “Tu che invoco” (without the cabaletta) – “La Vestale” – G. Spontini. Recording of May 1926. ‘A Freak of Nature’ – By TERRY TEACHOUT. Opera buffs like a good scrap almost as much as a good show, but when it comes to Rosa […]
Wait Till You Hear Her! In the annals of the Metropolitan Opera, the second week of November 1918 has more than a passing significance. On Monday, a performance of Samson et Dalila, with Enrico Caruso and Louise Homer in the title roles, opened the Metropolitan’s thirty-fifth season. The date of that performance (11 November 1918) […]
Maria Callas – “O Nume Tutelar” – “La Vestale” – Gaspare Spontini (14 November 1774 – 24 January 1851). Studio recording EMI 1958 . Orchestra del Teatro alla Scala di Milano – Conductor M.° Tullio Serafin. The production of Spontini’s La vestale that opened La Scala’s 1954–55 season marked the first collaboration between Maria Callas […]
Idomeneo came from the deepest necessity of Mozart’s creativity; from the need to express the new-found maturity of his work, from the acute pain of his mother’s death and the impossible relations with his father. It is a work of tradition, re-evaluation, recreation, and yet also of innovation and of the Zeitgeist. Mozart shapes the […]
Wilma Lipp sings “Der Hölle Rache kocht in meinem Herzen” from “Die Zauberflöte” by Wolfgang Amadeus Mozart Wiener Philharmoniker – M.° Wilhelm Furtwängler, Conductor. Salzburg Festival, 06.VIII. 1951.
Although among the most popular and instantly enjoyable operas in the repertory, Mozart’s The Magic Flute tends to baffle those who expect an opera plot to unfold with orderly consistency—like Puccini’s La Bohème, for example, a poignant love story told with economy, clarity, and no fancy pretenses. The Magic Flute, on the other hand, can […]