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Mozart - Cosi fan tutte / Fleming, von Otter, Scarabelli, Lopardo, Baer, Pertusi, Solti | 
 enlarge | Artists: Wolfgang Amadeus Mozart, Renee Fleming, Anne Sofie Von Otter, Sir Georg Solti, Adelina Scarabelli, Frank Lopardo, Olaf Baer, Michele Pertusi, Chamber Orchestra Of Europe
Label: Decca
Category: Music
List Price: $50.98
Buy New: $29.95
You Save: $21.03 (41%)
New (28) Used (12) from $28.00
Rating:  20 reviews
Sales Rank: 107136
Media: Audio CD
Discs: 3
Shipping Weight (lbs): 0.7
Dimensions (in): 5.6 x 5.1 x 1.7
MPN: 444174
UPC: 028944417425
EAN: 0028944417425
ASIN: B00000426I
Release Date: March 12, 1996
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Ouvertura | | • | Act 1. Scene 1.: La mia Dorabella capce non e | | • | Act 1. Scene 1.: Fuor la spade! Scegliete qual di noi piu vi piace | | • | Act 1. Scene 1.: E la fede delle femmine come l'araba fenice | | • | Act 1. Scene 1.: Scioccherie di poeti! | | • | Act 1. Scene 1.: Una bella serenata far io voglio all mia dea | | • | Act 1. Scene 2.: Ah quarda, sorella | | • | Act 1. Scene 2.: Mi par, che stamattina volentieri farei la pazzarella | | • | Act 1. Scene 2.: Vorrei dir, e cor non ho | | • | Act 1. Scene 2.: Stelle! Per carita, signor Alfonso | | • | Act 1. Scene 2.: Sento o Dio, che questo piede | | • | Act 1. Scene 2.: Non piangere, idol mio! | | • | Act 1. Scene 2.: Al fato dan legge quegli occhi vezzosi | | • | Act 1. Scene 2.: La commedia e graziosa | | • | Act 1. Scene 2.: Bella vita militar! | | • | Act 1. Scene 2.: Non v'e piu tempo, amici | | • | Act 1. Scene 2.: Di scrivermi ogni giorno | | • | Act 1. Scene 2.: Bella vita militar | | • | Act 1. Scene 2.: Dove son? | | • | Act 1. Scene 2.: Soave sia il vento | | • | Act 1. Scene 2.: Non sono cattivo comico ! Nel mare solca | | • | Act 1. Scene 3.: Che vita maledetta e il far la cameriera! | | • | Act 1. Scene 3.: Ah! scostati! Paventa il tristo effetto d'un disperato affetto! | | • | Act 1. Scene 3.: Smanie implacabili | | • | Act 1. Scene 3.: Signora Dorabella, signora Fiordiligi | | • | Act 1. Scene 3.: In uomini, in soldati sperare fedelta? |
Disc 2
| • | Act 1. Scene 3.: Che silenzio! Che aspetto di tristezza | | • | Act 1. Scene 3.: Alla bella Despinetta vi presento, amici miei | | • | Act 1. Scene 3.: Che sussurro! Che strepito! Che scompiglio e mai questo? | | • | Act 1. Scene 3.: Temerari! Sortite fuori di questo loco! | | • | Act 1. Scene 3.: Come Scoglio immoto resta | | • | Act 1. Scene 3.: Ah, non partite! | | • | Act 1. Scene 3.: Non siate ritrosi, occhietti vezzosi | | • | Act 1. Scene 3.: E voi ridete? | | • | Act 1. Scene 3.: Si puo sapere un poco la cagion di quel riso? | | • | Act 1. Scene 3.: Un'aura amorosa del nostro tesoro | | • | Act 1. Scene 3.: La saria da ridere | | • | Act 1. Scene 4.: Ah, che tutta in un momento si cangio | | • | Act 1. Scene 4.: Eccovi il medico, signore belle! | | • | Act 1. Scene 4.: Dammi un bacio, o mio tesoro | | • | Act 2. Scene 1.: Andate la, che siete due bizzarre ragazze | | • | Act 2. Scene 1.: Una donna a quindici anni | | • | Act 2. Scene 1.: Sorella, cosa dici? | | • | Act 2. Scene 1.: Prendero quel brunettino | | • | Act 2. Scene 1.: Ah, correte al giardino | | • | Act 2. Scene 2.: Secondate, aurette amiche | | • | Act 2. Scene 2.: Il tutto deponete sopra quei tavolini | | • | Act 2. Scene 2.: Oh che bella giornata! | | • | Act 2. Scene 2.: Il core vi dono, bell'idolo mio |
Disc 3
| • | Act 2. Scene 2.: Barbara! Perche fuggi? | | • | Act 2. Scene 2.: Ah! Lo veggio, quell'anima bella | | • | Act 2. Scene 2.: Ei parte... senti... ah no! | | • | Act 2. Scene 2.: Per pieta, ben mio, perdona all'error | | • | Act 2. Scene 2.: Amico, abbiamo vinto! | | • | Act 2. Scene 2.: Donne Mie, la fate a tanti | | • | Act 2. Scene 2.: In qual fiero contrasto | | • | Act 2. Scene 2.: Tradito, schernito dal perfido cor | | • | Act 2. Scene 2.: Bravo ! Questa e costanza! | | • | Act 2. Scene 3.: Ora vedo che siete una donna di garbo | | • | Act 2. Scene 3.: + Amore un ladroncello | | • | Act 2. Scene 3.: Come tutto congiura a sedurre il mio cor! | | • | Act 2. Scene 3.: Fra gli amplessi in pochi istanti | | • | Act 2. Scene 3.: Ah, poveretto me, cosa ho veduto! | | • | Act 2. Scene 3.: Tutti accusan le donne | | • | Act 2. Scene 3.: Vittoria, padroncini! | | • | Act 2. Scene 4.: Fate presto, o cari amici | | • | Act 2. Scene 4.: E nel tuo, nel mio bicchiero | | • | Act 2. Scene 4.: Miei signori, tutto e fatto | | • | Act 2. Scene 4.: Sani e salvi agli amplessi amorosi | | • | Act 2. Scene 4.: V'ingannai, ma fu l'inganno | | • | Act 2. Scene 4.: Fortunato l'uom che prende ogni cosa pel buon verso |
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| Similar Items:
| • | Mozart - Die Zauberfloete (The Magic Flute) | | • | Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti | | • | Cosi fan Tutte in Full Score | | • | Mozart - Cosi fan Tutte | | • | Puccini - La Boheme / Freni, Pavarotti, Harwood, Ghiaurov, Karajan |
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| Editorial Reviews:
Amazon.com
This delicately balanced story of two engaged couples who are inveigled into a brief flirtation with infidelity inspired some of the finest music Mozart ever composed. It is often textured with the fine nuances of chamber music, with some particularly delectable woodwind parts, and it progresses from contrived artificiality--when the two men make a rash bet with a friend about the unshakable faithfulness of their fiancees--into intense despair when that fidelity begins to be shaken. There is also slapstick-level comedy. It is all held together under Georg Solti's genial direction, with singing--solo and ensemble--of the highest quality. --Joe McLellan
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| Customer Reviews:
 Simply Magnificent August 25, 2006
J. Bankens (Lake Charles, LA)
2 out of 2 found this review helpful
This is such a great recording!!!! Georg Solti was such a master when it came to Mozartian repertoire. Anne Sofie von Otter is a splendid Dorabella. Her mezzo voice has such focus of tone and such beautiful color. Renee Fleming shines as Fiordiligi!!!! I love her voice so much. The "Come scoglio" is brilliant!!! She has both amazing low and high notes, which one needs in order to sing Fiordiligi, (a true tour de force for soprano). Frank Lopardo has such gorgeous ring in his voice!!! I am extremely happy with his Ferrando. Olaf Bar did a good job, but I feel his part sat a little low for him during the ensembles. But he did what any good singer would do in that situation; he never once pushed his voice to a point that would produce ugly tone. Michele Pertusi did a fine job as Don Alfonso. I really like the forward placement with which he sings. He never once over darkened like most basses feel the need to do. My least favorite was Scarabelli. Her voice just wasn't up to par with the rest of the cast. Despina is definitely one of the greatest characters in the opera, but Scarabelli didn't give me what the others gave me. Although, she still did wonderfully.
 Great musical theatre March 29, 2006
Irene Adler (Seattle, WA)
10 out of 10 found this review helpful
This is probably my favorite live recording so far. I decided to try this because I'm a fan of Solti's style. It might not quite live up to the hype generated by having such a star-studded cast, but it's certainly a very good performance.
The strongest point of this recording is Solti's lively pace and the rich sound he gets out of his orchestra and singers. It's definitely opera at it's grandest. But also at it's most theatrical. In contrast to most studio recordings, you get more of a feeling of drama.
I originally hesitated in buying this recording because I feel that Renee Fleming is somewhat unreliable. While she is capable of great expression, sometimes the tone of her voice is less than beautiful and her intonation can be less than perfect. I'm glad it didn't stop me in the end, because this is probably the finest performance I've ever heard her give. I think her Fiordiligi is probably on par with Schwarzkopf's.
Perhaps the biggest (well, I guess I should say, only) disappointment of this recording is Bar, the Ferrrando. Well, that's a bit harsh, because he does perform ably, but his Ferrando just isn't anywhere near Jerry Hadley's calibre. While I'm glad that this performance includes the oft-neglected "Ah lo veggio," Bar's flailing is just not attractive.
In short, I think if they had gotten Jerry Hadley to play Ferrando for this recording, I might well be disposed to call it the definitive Cosi of our time. As things stand, though, it's only 1/4 of what I consider the essential Cosi collection:
Bohm/Schwarzkopf for the best Fiordiligi
Mackerras/Lott, Hadley for the best Ferrando
Solti/Fleming for the best drama
Jacobs/Gens for the best chamber-opera feel.
Anyway, this is also a good choice as your first Cosi if you don't mind paying more than for the mid-price Bohm set.
 Not the one February 21, 2006
Reader (Bath, PA)
7 out of 12 found this review helpful
Reading all the raves for this performance and wanting another Mozart for my small collection I fell for this one. Since my only qualification is a pair of ears, I'm willing to believe the raves about high Bs and the like. However if, like myself, you like/love opera but don't recognize a high B when you hear it, you might actually find this recording dull and unremarkable. I certainly did.
Sparkling and Wondrous Cosi Fan Tutte Performance! September 10, 2004
Grady Harp (Los Angeles, CA United States)
14 out of 14 found this review helpful
COSI VAN TUTTE remains one of Mozart's most brilliant compositions, with more elegantly fluid arias, duets, trios, and ensembles than any one opera has a right to own! This 3 CD set is as fine as they come. Part of the reason is that the electricity of this live performance is something that somehow eludes studio recordings. Or is it just the opera, or the incredibly intelligent conducting of Sir Georg Solti, the warm Chamber Ensemble of Europe sound and responsiveness, or the cast that is still the dream cast for this particular opera? Whatever the explanation, this recording succeeds on every level. The tenderness of young lovers is sincere, the comedy is very much in evidence, and the purely vocal elements of uncommon difficulty sound simple in the hands of this cast. Renee Fleming is simply a radiant Fiordiligi, Anne Sofie von Otter sings Dorabella with such refinement and beauty of tone (has the trio 'Soave sia il vento" ever floated as beautifully as here?), Olaf Bar and Frank Lopardo fit the roles of the men suitors vocally and dramatically (and the interplay with their paramours is without peer), and the Despina of Adelina Scarabelli and the Don Alfonso of Michele Pertusi not only match the demands of their roles, they also deliver fine comic timing. This is still the reigning recording of this beloved opera (it dates back to 1996) and even if other recordings are in your library, this one belongs at the beginning of the Mozart section!
 On the large scale June 16, 2004
George Grella (Brooklyn)
8 out of 9 found this review helpful
This is Mozart done on a very grand opera scale, especially so with the female leads. Fleming and von Otter sing as beautifully and musically as one would expect, but in spirit this performance seems more like Verdi, with the grand gestures and florid vocalization, than my taste for Mozart opera, especially this one, which is with a sense of intimacy. It all depends on how you like it, because for what it is, it is generally quite well done.Some flaws, though. Solti, no surprise, seems to drive the work along a bit much, and the change in emotional quality in the music is frequently glossed over. While the ladies sound great, only Despina seems really characterized in many ways, and while the gents do a better job of 'acting' in their vocalization, I can't say the really stand out in comparison with other records. For the grand opera manner with still a sense of intimacy there is the incomparable von Karajan recording with Leopold Simoneau as the greatest Ferrando one will hear on record, singing so beautifully that in comparison I can't imagine what others hear to praise in Lopardo. Another wonferful Ferrando is Rainer Trost, with Gardiner's period performance, which also features outstanding work by Rodney Gilfry. Like his set, that one is also a live performance, a fully-staged opera recording, yet with far fewer interruptions for applause after arias, which do create a drag in this set as it goes along. Fine, in general, but not nearly one to listen to consistently.
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