Mozart: The Operas

Fans of Sir Georg Solti will get unalloyed pleasure from this set. Whether Solti's energised, dramatic Mozart is to your taste will dictate how much you're going to enjoy this box. It's not a question of tempi, some period-instrument performances are even faster while still managing some elegance and moments of repose.For example, Solti's is not a cosy "Cosi". Not for him the fun and games of Colin Davis on Phillips or (a personal favourite) Jochum on DG. The singing is perfectly fine, if equalled or surpassed elsewhere, (Ryland Davies merely perfectly okay as Ferrando). If you view Act Two to be an uncomfortable and unsettling emotional maelstrom, (and it's a perfectly valid viewpoint) then this is the set for you."Don Giovanni" is an odd one; where are the timps?? Of all conductors you'd expect Sir Georg to come thundering in with them at the entrance of the Statue... but they are absent throughout. Bernd Weikl's Don is a bit bullish and arrogant, in line with Solti's reading; no suave seducer here, though it's a valid interpretation, seconded by Bacquier's harassed Leporello. Personally I love Sass' Donna Elvira, though others differ...No, this "Don" is worth acquiring for Margaret Price's sensational Donna Anna alone, though Lucia Popp's gorgeous, but strong-willed Zerlina and Stuart Burrows, performing miracles of breath control in "Il mio Tesoro" are also top notch. Overall, it's a high energy "Don Giovanni", exciting, but a bit exhausting. Certainly preferable, though, to Solti's re-make with (on average) some less than remarkable singing. If you expect the Trio of the Masks, or "La ci darem la mano" to be oases of repose then Solti will disappoint, and the tempo for Zerlina and Masetto's first entrance is ludicrously hectic. Much "dramma" here, then, not much "giocoso".The lack of "charm" (whatever that is) or at least a sense of occasional relaxation, blights "Die Entfuhrung" for me. I thought it was supposed to be a comedy...? Gruberova is great as Constanze, Talvela a gruff sourpuss of an Osmin. Gottlob Frick (for Beecham/EMI) was a tough act to follow, and I miss the sly roguishness. It's great to hear how the Vienna Phil sizzle with energy in the overture, but give me Beecham/EMI or Harnoncourt (Teldec) every time."Figaro" is an almost legendary recording, Solti is more relaxed (once past the overture) and the singing is beautiful. I just can't get on with Samuel Ramey's dull dog of a Figaro. I much prefer Giorgio Tozzi (Leinsdorf/Decca), Cappecchi (Fricsay/ DG) or Taddei (Giulini/EMI), all of whom have a least a bit of twinkle and sing off the words much more. Everything else is tremendous; Te Kanawa, von Stade and Popp are unrivalled, and Thomas Allen's Count is one of the best on disc."Die Zauberflote" is another matter. Solti seems to relax a lot more, the playing of the Vienna Phil just glows and I love the Decca/Sofiensaal production. Stuart Burrows as Tamino is rivalled only by Wunderlich (Bohm/DG) for heroic lyricism, Hermann Prey's Papageno could literally charm the birds out of the trees, and Deutekom is a real firebrand of a Queen of the Night. The casting of members of the Vienna Boys Choir as the Three Boys is a masterstroke, there's not a weak link anywhere in the casting if you can take Gerhard Stolze's pungent Monostatos, another in his recorded gallery of grotesques. Probably my favourite recorded "Flute" since I owned the vinyl LPs.Lovers of svelte, "heavenly" Mozart must look elsewhere. I've given it four stars, because although I find Solti's dynamism rather wearing over long periods, there is singing on these recordings which is fit for the gods. I suppose my personal recommendation should go to those who have recordings by other conductors in their libraries... the singing throughout is worth five stars, and the set can be picked up on Amazon Marketplace for a snip.Despite reservations, I really enjoyed this set.

superb performances

The set arrived promptly and the contents are very satisfactory.