Charles Mackerras, Scottish Chamber Orchestra - Wolfgang Amadeus Mozart: Die Entführung aus dem Serail (2000)
Charles Mackerras, Scottish Chamber Orchestra - Wolfgang Amadeus Mozart: Die Entführung aus dem Serail (2000)
EAC | FLAC | Image (Cue & Log) ~ 598 Mb | Total time: 131:47 | Scans included
Classical | Label: Telarc | # CD-80544 | Recorded: 1999
EAC | FLAC | Image (Cue & Log) ~ 598 Mb | Total time: 131:47 | Scans included
Classical | Label: Telarc | # CD-80544 | Recorded: 1999
Mackerras’s series of opera recordings, with the Scottish Chamber Orchestra, has a character very much its own, deriving from his natural feeling for the dramatic pacing of Mozart’s music and the expressive and allusive nature of its textures, as well as the Scottish Chamber Orchestra’s sensitivity and responsiveness to him. These are not period-instrument performances (except in that natural horns and trumpets are used, to good effect), but Mackerras’s manner of articulation, and the lightness of the phrasing he draws from his strings, makes it, to my mind, a lot closer to a true period style than some of the performances that make a feature of period instruments and then use them to modern ends (I am thinking less here of British conductors than some from Europe).
This, then, is another of those opera recordings where, seated in your own drawing-room, you are made to feel as you listen to the overture that the curtain is about to rise: it’s a bright, bubbling performance, with the piccolo more sharply audible than it often is. Mackerras’s cast, as commonly in this series, includes several younger singers. The freshness often compensates for lack of experience. Paul Groves, the Belmonte, has done little recording; he has an even, well-formed voice, quite tightly focused, firm and masculine, with a good touch of heroic timbre. There is not yet much of the lyrical warmth that these Mozart tenor roles ask for, though; I would have welcomed a softer, more gentle touch in ‘O wie angstlich’, and again in ‘Wenn der Freude Tranen fliessen’, which needs caressing. But he does sing these very capably (including the lengthy full version of the latter, in an appendix to the recording), while in the last-act aria there is some pleasant softer singing.
I have not previously come across the soprano, Yelda Kodalli, Turkish-born, who (ironically) is cast as Konstanze. It is a very brilliant, bell-like voice, with a strong and clean top register; at first, after ‘Ach, ich liebte’, I thought it rather unvaried in tone and expression, but there is real expressive intensity to ‘Traurigkeit’ and a splendidly bold, forthright ‘Martern aller Arten’, with powerful coloratura in what amounts to an impressively shaped account (from Mackerras and his players, too) of that magnificent piece. The Blonde, Desiree Rancatore, seems to me the most naturally stylish member of the cast, very spirited, with a real sense of how to turn a phrase. I am not sure that there is quite the ideal tonal contrast either between the two sopranos or the two tenors. Pedrillo, Lynton Atkinson, does his big central aria with directness and wit, but I should have preferred some softer tone and more delicate shading in the Romance. Peter Rose doesn’t give us the usual caricatured Osmin, and there isn’t quite the fat in the voice that is traditional to the role, but it is a good, direct, strongly sung performance with proper attention to a firm line, there’s a good bottom D, and there is no shortage of wit or spirit in ‘Ha! wie will ich triumphieren’. Oliver Tobias provides a rather soft-spoken Pasha.
The ensembles seem to go particularly well, due no doubt to Mackerras’s control and pacing; I am thinking especially of the act finales (the quartet is particularly fine), but the profound emotional force of the duet-recitative, when Belmonte and Konstanze are facing death, is also very finely realized. Dialogue is included, considerably shortened but sufficient to make clear sense; I should have preferred slightly more, if only because the sheer richness of the music demands space between numbers.
This version is, I think, a strong contender for recommendation as the leading modern- instrument version, in preference to the classic Bohm; it is a matter of measuring Mackerras’s superior dramatic vitality against Bohm’s outstanding pair of leading soloists, Auger and Schreier.–Stanley Sadie
Performer:
Konstanze - Yelda Kodalli
Belmonte - Paul Groves
Blonde - Désirée Rancatore
Osmin - Peter Rose
Pedrillo - Lynton Atkinson
Bassa Selim - Oliver Tobias
Scottish Chamber Orchestra & Chorus
Conductor - Sir Charles Mackerras
Tracklist:
Wolfgang Amadeus Mozart (1756-1791)
Die Entführung aus dem Serail, K. 384
01. Ouvertüre
Erster Aufzug
02. Aria: Hier soll ich dich denn sehen (Belmonte)
03. Dialogue: Aber wie soll ich in den Palast kommen? (Belmonte)
04. Song and Duet: Wer ein Liebchen hat gefunden (Osmin, Belmonte)
05. Dialogue: Könnt'ich mir noch so einen Schurken (Osmin, Pedrillo)
06. Aria: Solche hergelauf'ne Laffen (Osmin)
07. Dialogue: Geh nur, verwünschter Aufpasser! (Pedrillo, Belmonte)
08. Recitative & Aria: Konstanze! dich wiederzusehen! (Belmonte)
09. Dialogue: Geschwind, geschwind auf die Seite und versteckt! (Pedrillo, Belmonte)
10. Chorus: Singt dem großen Bassa Lieder
11. Dialogue: Immer noch traurig, geliebte Konstanze? (Selim, Konstanze)
12. Aria: Ach ich liebte (Konstanze)
13. Dialogue: Ihr Schmerz, ihre Tränen (Selin, Pedrillo, Belmonte)
14. Trio: Marsch, marsch, marsch! (Osmin, Belmonte, Pedrillo)
Zweiter Aufzug
15. Dialogue: O des Zankens, Befehlens und Murrens (Blonde, Osmin)
16. Aria: Durch Zärtlichkeit und Schmeicheln (Blonde)
17. Dialogue: Zärtlichkeit! Schmeicheln! (Osmin, Blonde)
18. Duet: Ich gehe, doch rate ich dir (Osmin, Blonde)
19. Recitative: Welcher Wechsel herrscht in meiner Seele (Konstanze)
20. Aria: Traurigkeit ward mir zum Lose (Konstanze)
21. Dialogue: Nun, Konstanze, denkst du meinem Begehren nach? (Selim, Konstanze)
22. Aria: Martern aller Arten (Konstanze)
23. Dialogue: Ist das ein traum? (Selim)
CD2:
01. Dialogue: Bst, bst, Blondchen! (Pedrillo, Blonde)
02. Aria: Welche Wonne, welche lust (Blonde)
03. Dialogue: Ahh, daß es schon vorbei wäre! (Pedrillo)
04. Aria: Frisch zum Kampfe! (Pedrillo)
05. Dialogue: Ha! Geht's hier so lustig zu? (Osmin, Pedrillo)
06. Duet: Vivat Bacchus! (Pedrillo, Osmin)
07. Dialogue: Wein - Wein - ist ein schönes Getränk! (Pedrillo, Osmin)
08. Aria: Wenn der Freude Tränen fließen (Belmonte)
09. Quartet: Ach Belmonte! ach mein Leben! (Konstanze, Belmonte, Pedrillo, Blonde)
Dritter Aufzug
10. Aria. Ich baue ganz auf deine Stärke (Belmonte)
11. Dialogue: Alles liegt auf dem Ohr (Pedrillo, Belmonte)
12. Romance: In Mohrenland gefangen war (Pedrillo)
13. Dialogue: Sie macht auf, Herr! (Pedrillo, Belmonte, Konstanze, Blonde)
14. Aria: O, wie will ich triumphieren (Osmin)
15. Dialogue: Was gibt's, Osmin? (Selim, Osmin, Konstanze, Belmonte)
16. Recitative: Welch ein Geschick! (Belomonte, Konstanze)
17. Duet: Meinetwegen sollst du sterben! (Belomonte, Konstanze)
18. Dialogue: Nun, Sklave, elender Sklave! (Selim, Belmonte, Konstanze, Pedrillo, Osmin)
19. Vaudeville: Nie werd'ich deine Huld verkennen (Belmonte, Konstanze, Pedrillo, Blonde, Osmin)
Anhang
20. Aria: Wenn der Freude Tränen fließen (long version) (Belmonte)
Exact Audio Copy V1.6 from 23. October 2020
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Charles Mackerras, Scottish Chamber Orchestra - Wolfgang Amadeus Mozart: Die Entführung aus dem Serail (2000)
Thanks to the original releaser