Mozart: Lucio Silla, K135

Dacapo: 8226069-71

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Mozart: Lucio Silla, K135

Awards:

Gramophone Magazine

Editor's Choice - Awards Issue 2008

Label:

Dacapo

Catalogue No:

8226069-71

Discs:

3

Release date:

2nd June 2008

Barcode:

0636943606926

Length:

2 hours 49 minutes

Medium:

CD (download also available)
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Mozart: Lucio Silla, K135

Libretto: Giovanni di Gamerra & Reductions in recitatives made by Richard Lewis


Henriette Bonde-Hansen (soprano), Susanne Elmark (soprano), Kristina Hammarström (mezzo soprano), Jakob Næslund Madsen (tenor), Simone Nold (soprano), Lothar Odinius (tenor) & Richard Lewis (harpsichord)

Danish Radio Sinfonietta & Ars Nova Copenhagen, Adam Fischer

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Wolfgang Amadeus Mozart: Lucio Silla, K. 135

Sinfonia: Molto allegro - Andante - Molto allegro

Act I Scene 1: Recitative: Ah ciel, l'amico Cinna qui attendo invan (Cecilio, Cinna)

Act I Scene 1: Aria: Vieni ov'amor t'invita (Cinna)

Act I Scene 2: Accompanied Recitative: Dunque sperar poss'io di pascer gli occhi miei (Cecilio)

Act I Scene 2: Aria: Il tenero momento premio di tanto amore (Cecilio)

Act I Scene 3: Recitative: A te dell'amor mio, del mio riposo (Silla, Celia)

Act I Scene 3: Aria: Se lusinghiera speme pascer non sa gli amanti (Celia)

Act I Scene 4: Recitative: Signor, duolmi vederti ai rifiuti, agl'insulti Esposto ancor (Aufidio, Silla)

Act I Scene 5: Recitative: Sempre dovro vederti lagrimosa e dolente? (Silla, Giunia)

Act I Scene 5: Aria: Dalla sponda tenebrosa vieni o padre, o sposo amato (Giunia)

Act I Scene 6: Recitative: E tollerare io posso si temerari oltraggi? (Silla)

Act I Scene 6: Aria: Il desio di vendetta, e di morte (Silla)

Act I Scene 7: Accompanied Recitative: Morte, morte fatal della tua mano (Cecilio)

Act I Scene 8: Arioso: Fuor di queste urne dolenti (Chorus, Giunia)

Act I Scene 8: Accompanied Recitative: Se l'empio Silla, o padre (Giunia, Cecilio) - Scene 9: Stelle! Io tremo! … (Giunia)

Act I Scene 9: Duet: D'Eliso in sen m'attendi ombra dell'idol mio (Giunia, Cecilio)

Act II Scene 1: Recitative: Tel' predissi, o Signor, che la superba (Aufidio, Silla)

Act II Scene 1: Aria: Guerrier, che d'un acciaro (Aufidio)

Act II Scene 2: Recitative: Ah non mai non credea (Silla, Celia)

Act II Scene 3: Recitative: Qual furor ti transporta? (Cinna, Cecilio)

Act II Scene 3: Aria: Quest' improvviso tremito, che in sen di piu s'avanza (Cecilio)

Act II Scene 4: Recitative: Ah, si, s'affretti il colpo (Cinna, Celia)

Act II Scene 4: Aria: Se il labbro timido scoprir non osa (Celia)

Act II Scene 5: Recitative: Giunia s'appressa. Ah ch'ella puo soltanto (Cinna, Giunia)

Act II Scene 5: Aria: Ah se il crudel periglio (Giunia)

Act II Scene 6: Accompanied Recitative: Ah si, scuotasi omai (Cinna)

Act II Scene 6: Aria: Nel fortunato istante, che' ei gia co' voti affretta (Cinna)

Act II Scene 7: Recitative: Signor, ai cenni tuoi il Senato fia pronto (Aufidio, Silla)

Act II Scene 8: Recitative: Silla? L'odioso aspetto destami orror. Si fugga (Giunia, Silla)

Act II Scene 8: Aria: D'ogni pieta mi spoglio perfida donna audace (Silla)

Act II Scene 9: Recitative: Che intesi, eterni Dei? (Giunia, Cecilio) - Accompanied Recitative: Chi sa, che non sia questa (Cecilio, Giunia)

Act II Scene 9: Aria: Ah se morir mi chiama (Cecilio)

Act II Scene 10: Recitative: Oh Ciel? Si lagrimosa si dolente io t'incontro? (Celia, Giunia)

Act II Scene 10: Aria: Quando sugl' arsi campi (Celia)

Act II Scene 11: Accompanied Recitative: In un istante oh come (Giunia)

Act II Scene 11: Aria: Parto, m'affretto. Ma nel partire il cor si spezza (Giunia)

Act II Scene 12: Se gloria il crin ti cinse (Chorus)

Act II Scene 12: Recitative: Padri Coscritti non ignorate l'antico odio funesto (Silla, Giunia, Aufidio)

Act II Scene 13: Recitative: Sposa ah no, non temer (Cecilio, Silla, Giunia, Aufidio)

Act II Scene 14: Trio: Quell'orgoglioso sdegno oggi umiliar sapro (Silla, Cecilio, Giunia)

Act III Scene 1: Recitative: Ah si tu solo, amico (Cinna, Cecilio, Celia)

Act III Scene 1: Aria: Strider sento la procella (Celia)

Act III Scene 2: Recitative: Forse tu credi, amico che Celia giunga a raddolcir un core (Cecilio, Cinna)

Act III Scene 2: Aria: De' piu superbi il core (Cinna)

Act III Scene 3: Recitative: Ah no, che'l fato estremo (Cecilio, Giunia)

Act III Scene 4: Recitative: Tosto seguir tu dei, Cecilio, i passi miei (Aufidio, Giunia, Cecilio)

Act III Scene 4: Aria: Pupille amata non lagrimate (Cecilio)

Act III Scene 5: Accompanied Recitative: Sposo … mia vita … Ah dove, dove vai? (Giunia)

Act III Scene 5: Aria: Fra i pensier piu funesti di morte (Giunia)

Act III Scene 8: Recitative: Roma, il Senato e 'l popolo m'ascolti (Silla, Giunia, Cecilio, Aufidio, Celia, Cinna)

Act III Scene 8: Finale: Il gran Silla a Roma in seno (Chorus, Giunia, Cecilio, Cinna, Silla)

The Telegraph

5th July 2008

“With a fresh-voiced young cast and orchestral playing of crackling energy, this Danish Radio recording eclipses its closest CD rival, from Leopold Hager (Philips)...As the Emperor's sympathetic sister, Susanne Elmark despatches her many high staccato passages with effortless grace. Mezzo Kristina Hammarström makes a fiery Cecilio, while Simone Nold, as the suffering heroine, invests her pure, gentle soprano with a touching intensity of feeling.”

Gramophone Magazine

Awards Issue 2008

“Adám Fischer encourages playing of quivering energy from the trim, lean-toned Danish orchestra. While there are no big names among the soloists, they have fresh, youthful-sounding voices, and cope elegantly with Mozart's coloratura demands. …this is now the version to have of an ambitious, over-long but often richly expressive opera that has still not had a fully professional production in Britain.”

Gramophone Classical Music Guide

2010

“The Milan premiere of Lucio Silla, on Boxing Day 1772, was a near-fiasco: ham acting from the last-minute tenor and the prima donna in a sulk. But from the second performance Mozart's second opera seria was an unalloyed triumph.
The libretto is lumbering, sententious and dubiously motivated, culminating in an astonishing volte-face in which the sadistically ruthless Emperor suddenly morphs into a paragon of Enlightenment clemency. Not that this would have bothered 16-year-old Mozart's audiences one iota. What they came for – and got in spades – were varied and inventive arias that showcased the star singers.
The central roles of Giunia and her betrothed, the banished senator Cecilio (written for the castrato Rauzzini), inspired Mozart to his most powerful operatic music to date: darkly coloured accompanied recitatives that look forward to Idomeneo, Cecilio's anguished aria of parting, 'Ah, se a morir', a Gluckian ombra aria for Giunia as she prepares for death, and a dramatic trio that pits the two lovers against the raging Emperor.
This 2001-02 recording from Danish Radio archives is well sung and excitingly conducted.
Adám Fischer encourages playing of quivering energy from the trim, lean-toned Danish orchestra. In the accompanied recitatives the players grieve and rage as vividly as the singers.
Only Fischer's jerky tempo fluctuations, à la Harnoncourt, in the trio fail to convince.
While there are no big names among the soloists, they have fresh, youthful-sounding voices, and cope elegantly with Mozart's coloratura demands. As the put-upon heroine Giunia, Simone Nold sings with grace and agility, and fiery intensity, too – try the agitated Act 2 aria 'Parto, m'affretto'. Kristina Hammarström impresses especially in Cecilio's sombre memento mori scene in Act 1 and the spectacular vengeance aria 'Quest' improvviso tremito'. The secondary pair of lovers, Cecilio's friend Cinna and the Emperor's blithely innocent sister Celia, are equally well cast, Susanne Elmark dispatching high staccato passages with delightful insouciance.
The recording gives the orchestra plenty of presence without short-changing the singers.
This is now the version to have of an ambitious, over-long but often richly expressive opera.”

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