Mozart: Arien

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Mozart: Arien


Gramophone Awards 2017

Finalist - Recital

Gramophone Magazine

Editor's Choice - April 2017



Catalogue No:




Release date:

13th Jan 2017




61 minutes


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Mozart: Arien


Le nozze di Figaro, K492: Overture

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Voi che sapete (from Le nozze di Figaro)

Porgi amor (from Le nozze di Figaro)

Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro)

Ah Fuggi il Traditor (from Don Giovanni K527)

Deh vieni, non tardar (from Le nozze di Figaro)

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Ei parte...Per pietà (from Così fan tutte)

Una donna a quindici anni (from Così fan tutte)

Temerari!...Come scoglio! (from Così fan tutte)

Bella mia fiamma, addio... Resta, oh cara, K528

Misera, dove son? - Ah! non son' io che parlo! K369



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Anett Fritsch sings arias from the Mozart/Da Ponte trilogy of Figaro / Don Giovanni / Così. Progressing in recent years through a series of acclaimed performances, portraying Mozart’s principal female characters – most notably in Sven Erik Bechtolf’s productions of Figaro and Don Giovanni in Salzburg and Michael Haneke’s version of Così which caused such a stir in Madrid – Anett Fritsch has been astounding audiences with her versatility. In 2016 she played all of the important female roles in Le nozze di Figaro in the course of just five months: Susanna in Toulouse in April, Cherubino in Munich in June, and La Contessa in Salzburg in August.

On this recording she demonstrates the great diversity of Mozart’s female roles, beginning with the Contessa’s complex first aria ‘Porgi amor’ alongside Cherubino’s ecstatic ‘Non so più cosa son’ and the heartfelt canzona, followed by Susanna’s ‘rose aria’. Then from Don Giovanni we hear Donna Elvira’s passionate ‘Ah fuggi il traditor’ together with ‘In quali eccesi’ that was added later for the Vienna production. Anett Fritsch considers Donna Elvira to be the most emotionally ‘all-encompassing’ character in the opera, and contrasts her portrayal with the emotionally (and musically) quite different, Zerlina in her efforts to win back Masetto. Fiordiligi’s first two great arias are next, from the apparently comic, yet in truth highly cryptic Così fan tutte; they are separated by the frivolous and unintentionally comic erotic advice given by Despina (the first Mozart role that Anett Fritsch ever performed, in 2006) in ‘Una donna a quindici anni’. It is certainly remarkable how flexibly she does vocal justice to the diverse roles, starting from her lyrical base and then adjusting her voice to the challenges of each character, using a higher level of coloratura or adding her own embellishments, placing emotional emphasis where it is needed.

Anett Frisch is wonderfully accompanied in all of this by the Munich Radio Orchestra, led by Alessandro De Marchi. Her recording programme draws to a close with examples from a meaningful, less well known field of Mozart’s vocal oeuvre – two expansive concert arias. The two-part, richly modulating aria with the recitative ‘Bella mia fiamma – Resta, oh cara’ was written in Prague for Niccolò Jommelli’s Festa teatrale Cerere placata in 1787, at the same time that Don Giovanni was premiered. On this recording, Anett Fritsch takes on a breeches role as Titano as he takes leave of his lover, culminating in him taking his own life.

Wolfgang Amadeus Mozart: Le nozze di Figaro, K. 492


Non so più cosa son, cosa faccio

Voi, che sapete che cosa e amor

Porgi, amor, qualche ristoro

Giunse al fin il momento... Deh, vieni, non tardar

Wolfgang Amadeus Mozart: Don Giovanni, K. 527

Ah! Fuggi il traditor!

Non me lo credi? - Batti, batti, o bel Masetto

In quali eccessi... Mi tradì quell'alma ingrata

Wolfgang Amadeus Mozart: Così fan tutte, K. 588

Ei parte... Senti... Ah no! - Per pieta, ben mio, perdona

Una donna a quindici anni

Temerari! Sortite fuori di questo loco! - Come scoglio immoto resta

Wolfgang Amadeus Mozart: Bella mia fiamma, addio, K. 528

Bella mia fiamma, addio, K. 528

Wolfgang Amadeus Mozart: Misera, dove son!, K. 369

Misera, dove son!, K. 369

Gramophone Magazine

April 2017

“Fritsch’s Mozart is a sheer delight. This is no bland essay of the usual suspects painted in anonymous colours but a vivid portrait gallery of characters that Fritsch has actually played on stage. She presents multiple characters from the three da Ponte operas and they’re all beautifully variegated, all coming across as living, breathing individuals...A jewel of a disc.”

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