Composer: Wolfgang Amadeus Mozart
Works: Famous Opera Arias
Performers: Edita Gruberova (Soprano), Thomas Hampson (Baritone), Barbara Bonney (Soprano), Anton Scharinger (Bass), Charlotte Margiono (Soprano), Petra Lang (Mezzo soprano), Hans Peter Blochwitz (Tenor), Deon van der Walt (Tenor), Yvonne Kenny (Soprano), Werner Hollweg (Tenor), Ann Murray (Mezzo soprano), Philip Langridge (Tenor), Lucia Popp (Soprano), Cecilia Bartoli (Mezzo soprano)
Recording: Royal Concertgebouw Orchestra (1-6, 9), Zurich Opera Orchestra (7-8, 10-14), Concentus Musicus Wien (15), Mozartorchester des Opernhauses Zürich, Nikolaus Harnoncourt
Label: Warner Classics
Mozart’s operas, a rich tapestry of human emotion and complex characterizations, offer a myriad of opportunities for vocalists to explore the depths of their art. The collection “Famous Opera Arias” serves as a curated selection of these gems, showcasing illustrious soloists across a spectrum of Mozart’s operatic works. Recorded between 1980 and 1994, this compilation not only highlights the brilliance of the composer but also offers insights into the interpretative choices of some of the most distinguished voices of our time.
Edita Gruberova’s contributions are particularly striking. Her interpretation of “Or sai chi l’onore” from Don Giovanni is marked by a sharp, almost acerbic tone that lends a unique edge to Donna Anna. However, this initial track reveals a slight shrillness that may unsettle some listeners, potentially detracting from the emotional weight of her plea for vengeance. The subsequent track, “Der Hölle Rache kocht in meinem Herzen,” is where Gruberova truly shines. Here, her technique and dramatic prowess are on full display, effortlessly navigating the aria’s demanding coloratura with precision and a visceral sense of vengeance that captures the essence of the Queen of the Night. The interplay between her soaring high notes and the orchestral backdrop is both thrilling and chilling, showcasing a commanding presence that is hard to match.
Thomas Hampson’s rendition of “Deh! vieni alla finestra” offers a counterpoint to Gruberova’s intensity. Hampson’s smooth, honeyed timbre invites listeners into a world of romantic allure, creating an atmosphere where one can easily envision the Don’s charm working its magic. His vocal execution here is exquisite, matched beautifully by the orchestral strings that underscore Zerlina’s tender vulnerability in “Vedrai, carino.” The delicate balance achieved in this duet exemplifies the collaborative spirit that Mozart’s operas demand.
Anton Scharinger’s spirited “Non più andrai” brings a humorous vigor to the program, embodying Cherubino’s youthful exuberance with a flair that engages the listener. The clarity of diction and the orchestral colors enhance the character’s playful defiance of military duty, ensuring that the emotional narrative is not lost amidst the technical demands of the aria. Similarly, Charlotte Margiono’s “Porgi, amor” from Le Nozze di Figaro evokes a poignant longing, though one might wish for a deeper emotional resonance in her softer passages, which at times lack the profound yearning that the text conveys.
The sound quality of this recording, engineered by Warner Classics, is commendable, preserving the warmth of the orchestral palette while allowing individual voices to shine. The meticulous attention to the balance between singers and orchestra enhances the overall experience, making this collection a pleasure for both casual listeners and connoisseurs alike. While the absence of libretto and detailed notes on the selections may leave some seeking greater context, the performances themselves speak volumes.
Yvonne Kenny’s “Martern aller Arten” stands out for its emotional depth, seamlessly moving from unwavering resolve to a heart-wrenching plea. This arc is executed with skillful breath control, showcasing a range that is both impressive and emotionally compelling. Werner Hollweg’s “Fuor del mar” offers a nuanced portrayal of Idomeneo, marked by an expressive middle section that invites reflection rather than mere display of vocal prowess.
The closing arias from Lucia Popp and Cecilia Bartoli encapsulate the collection’s strengths. Popp’s portrayal of Vitellia captures a wide emotional spectrum, while Bartoli’s “Il tenero momento” displays her characteristic richness and fluidity, leaving a lasting impression of vocal artistry and interpretive depth.
The compilation ultimately serves as an excellent introduction to Mozart’s operatic arias, featuring a variety of interpretations that highlight both the composer’s genius and the performers’ individual artistry. This collection, while occasionally lacking in contextual details, provides a vibrant listening experience that celebrates the operatic tradition with fresh enthusiasm. It is a testament to the enduring appeal of Mozart’s music and the incredible talents of those who bring it to life.
