It is more than twenty years since Solti last recorded Così for Decca, and if that earlier version was far from ideally cast, this new one more than makes amends. Above all, it has a commanding Fiordiligi in Renée Fleming, who conveys all the tragic vulnerability of this central character. Her performance of the great second-act rondo ‘Per pietà’ would be enough to melt the hardest of hearts. Anne Sofie von Otter and Olaf Bär are in fine form, too; and while Adelina Scarabelli is not exactly a mistress of disguises (she scarcely alters her voice at all for Despina’s part as the mesmeric doctor), her vitality is irresistible. More contentious is the Ferrando of Frank Lopardo. True, he can scale down his voice admirably, but all too often he lacks a genuine sense of line, and his intonation is unreliable.
Takuan (1573-1645), Maître du Zen très populaire au Japon, était le conseiller spirituel du troisième shôgun des Tokugawa et il dispensa son enseignement aux vassaux de celui-ci - ce qui constitue le second chapitre de cet ouvrage sous le titre ….
Pendant des mois, j'ai reçu la visite de Jean-Max Toubeau. Il arrivait avec ses cartons, ses gommes et ses crayons, et entreprenait de croquer tout ce qui se présentait, chat, enfants, maison, jardin, et moi bien entendu. Ce petit livre est né de ces rencontres où l'immobilité du corps, à laquelle il m'obligeait, se compensait par des vagabondages de l'esprit et de la plume à travers mes souvenirs, mes réflexions et mes lectures.
The old philosopher Don Alfonso enrages his two friends, the officers Ferrando and Guglielmo, with his claim that their fiancées will sooner or later be unfaithful to them - like all women. He proposes a wager, which the two friends accept. They swear on their honour as soldiers that they will prove him wrong and that Dorabella and Fiordiligi are not like “all women”. The immaculately restored eighteenth-century Court Theatre at the country residence of the Swedish Royal Family is the ideal home for period opera. Ever since Drottningholm Court Theatre was rediscovered in the 1920s, it has served as a living memorial to the fabulous extravagance of courtly entertainment and provided the wherewithal for the recreation of the spectacular scenic transformations of the seventeenth and eighteenth century operatic repertoire. The conductor Arnold Östman was appointed Drottningholm’s Artistic Director in 1980 and immediately set about establishing a Drottningholm Mozart style, attempting to recapture an authentic flavour through detailed historical research and the use of period instruments. He collaborates with German producer Willy Decker on this ever-popular Mozart comedy with an extensively rehearsed cast of young Swedish singers who “…proved a triumph of stylish teamwork, with singers and orchestra listening to each other, almost as it were breathing together.” (Daily Telegraph)
Sony Classical continues its major Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”. The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.
"There's plenty of life and vigour in the performance…Lorengar's Fiordiligi is affectingly interpreted and confidently delivered… Berganza sings with supple phrasing and firm tone… Ryland Davies's Ferrando is keen and pleasing in tone, secure in line, a great improvement on Gedda (Davis), and particularly eloquent in eventually breaking down the vulnerable defences of Lorengar's Fiordiligi. "Un' aura amorosa" would yield to tenderer accents, but the two Second Act arias are faultless in delivery. Krause is a seductive and articulate Guglielmo, Bacquier among the most ebullient of Alfonsos, who makes the most of every opportunity—a performance that brings the singer's very individual presence into the home. Some decorations are offered. The recitative is taken in lively fashion with Jeffrey Tate providing nice touches at the harpsichord. I enjoyed hearing Solti's version again more than I expected, not least because it conveys a sense of joy on all sides in actually performing the piece—that counts for much." – Gramophone