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Renata Scotto in Budapest
The magnificent artistry of one of opera’s greatest divas, presented in a live 1991 concert with orchestra.
Color, stereo, 68 minutes, optional subtitles in English, French, German, Italian, and Spanish. All regions.
This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.
Mozart - Arias
Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro)
Voi che sapete (from Le nozze di Figaro)
Ch'io mi scordi di te?... Non temer, amato bene, K505
In uomini, in soldati (from Così fan tutte)
Ei parte...Per pietà (from Così fan tutte)
E amore un ladroncello (from Così fan tutte)
Non più di fiori (from La clemenza di Tito)
Quando avran fine omai ... Padre, germani, addio! (from Idomeneo)
Vado, ma dove? oh Dei!, K583
Non so più cosa son, cosa faccio (from Le nozze di Figaro)
Alma grande e nobil core K578
Giunse alfin il momento - Al desio di chi t'adora K492/577
“'Singing Mozart is second nature to her,' enthuses Rattle of Magdalena KoOená. 'Each woman on each track is a completely distinct personality.' Promotional hype? Well, in hyper-Beckmesserish mode you could say her legato in 'Per pietà' is not quite seamless, the tempo for 'Deh vieni' a touch too jaunty. But this is barrel-scraping. If anyone has recorded a lovelier Mozart recital in recent years, we've yet to hear it. In her early thirties, KoOená is now consummate mistress of her art. Her liquid high mezzo, with its easy upward extension, combines warmth with the bloom and freshness of youth, while her coloratura, on display in 'Al desio di chi t'adora', is as brilliant and expressive as Bartoli's, yet without the Italian diva's intrusive aspirates.
Beyond this, Rattle's claim is hard to refute.
Cherubino (whose 'Voi che sapete' is sung in an embellished version published in 1810) and Dorabella (a blithe, flighty 'È amore un ladroncino') are the only roles here in KoOená's stage repertoire. But she 'lives' each of these wide-ranging characters intensely, from the remorseful Vitellia in La clemenza di Tito (sorrow etched into the texture of her voice) via the tenderness and anguish of Ilia in Idomeneo to a delightfully sly, knowing Despina. The vivid, tangy accompaniments from Rattle and the OAE go well beyond mere good style, with a classy basset-horn obbligato from Anthony Pay in the Vitellia aria. Fortepianist Jos van Immerseel is an equally sympathetic partner in an impassioned yet intimate performance of Ch'iomi scordi di te.” Gramophone Classical Music Guide, 2010
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