2 "Wer ein Liebchen hat gefunden" - Full Score - Kindle edition by Wolfgang taking and highlighting while reading "Die Entführung aus dem Serail", Act 1, No.
Table of contents
- Navigation menu
- Aria Database - Search the Database
- Sorry, we can't find the page you're looking for.
- Die Entführung aus dem Serail, K.384 (Mozart, Wolfgang Amadeus)
Wolfgang Amadeus Mozart - Verzeih, dass ich es wage" Seid ihr nicht Toren". Total Playing Time 1: Geht's hier so lustig zu? O Qual der Seele! Erwartest du dein Urteil? Singing with great sensuality and perhaps even flutier top notes than Damrau musters, Anna Prohaska makes a spirited Blonde and she is well-matched by Franz-Josef Selig's Osmin.
Navigation menu
Belmonte is arguably the composer's most taxing tenor role. Damrau makes light of Konstanze's bravura challenges. Thomas Quasthoff delivers the speaking role of the Pasha in sonorous tones. With her flexible silvery tone and diamond-bright upper extension Diana Damrau is pretty much my ideal in the demanding role of Konstanze, switching from fire to ice in a heartbeat and as compelling in the long-breathed lines of the great lament "Traurigkeit" as she is in the defiant pyrotechnics of "Martern aller Arten".
Glorious playing, too, from the Chamber Orchestra of Europe. Prohaska eschews arch simpering in favour of a cool, no-nonsense imperiousness that audibly takes the wind out of Osmin's attempts to dominate her. Paul Schweinester impresses hugely as Pedrillo. What a luxury it is to have the great German bass-baritone Thomas Quasthoff. He has an imposing if unusually cultivated-sounding henchman in the distinguished Wagnerian Franz-Josef Selig's resonant Osmin, firmly sung even in the role's lowest reaches. Mozart performed with spirit is always a tonic.
His speeds are well judged, never too fast for the singers to articulate clearly.
Aria Database - Search the Database
And he has the knack of bringing out detail without sounding fussy. Particularly beguiling is the oboist's rubato. The orchestra is beautifully balanced, with a fortepiano tinkling discreetly in the background. The coloratura in "Ich baue ganz" is very well done, with superb breath control.
The sadness of the first is touchingly conveyed through her soft singing. Paul Schweinester is equally adept as Pedrillo, striking just the right balance between courage and fear in "Frisch zum Kampfe! Franz-Josef Selig makes a superb Osmin, both formidable and comic, rich in tone across a range of more than two octaves. All the cast deliver the spoken words convincingly: The casting is largely excellent. Anna Prohaska sounds every bit her mistress' equal.
- Access Check.
- .
- Twilight (1916).
Franz-Josef Selig strikes just the right balance between comedy and menace as the gardener Osmin, and Thomas Quasthoff speaks Pasha Selim's role in the dialogues with dignity and poise. From the first bars of the playful overture, he captures all the score's bravado and energy, keeping up an urgent pace without ever pushing phrases out of shape or leaving the singers breathless. The Chamber Orchestra of Europe provides him with beautifully blended playing throughout.
- ;
- Sorry, we can't find the page you're looking for. | Sheet Music Now.
- Four Immune-Supporting Supplements Every Lyme Disease Sufferer Needs to Know About, And Where to Buy.
- !
- ;
- .
- On Suicide (Penguin Classics).
Thomas Quasthoff speaks one of the finest accounts of Bassa Selim on disc. Prohaska ascends into the stratosphere with little evidence of effort and a heartening avoidance of shrillness. The indubitably great Damrau emerges in the much-feared aria "Martern aller Arten", her technical aplomb in the runs frequently cresting on top C dizzying, and she here rises to top D without a care in the world.
Another aspect of his conducting is the insistence on sharp, almost Beethovenian dynamic contrasts. This may be a small orchestra, but it has plenty of power when the drama requires it. Rolando Villazon is an opera singer who puts his heart and soul into every performance. Villazon offers a far more multi-faceted Belmonte than we are used to hearing. Diana Damrau as Konstanze sails through some of the most difficult music Mozart ever wrote for a soprano with absolute security. Anna Prohaska as Blonde has plenty of demanding top notes of her own to contend with, and she too is wonderful.
In fact, the entire cast of six could hardly be better. Talk about luxury casting. The Muslim leader becomes a real person in this performance. The remaining cast is fine and capable. The cast is of a very high standard. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim. The work premiered on 16 July at the Vienna Burgtheater , with the composer conducting. The company that first sponsored the opera was the Nationalsingspiel "national Singspiel " , a pet project — of the Austrian emperor Joseph II.
The Emperor had set up the company to perform works in the German language as opposed to the Italian opera style widely popular in Vienna. This project was ultimately given up as a failure, but along the way it produced a number of successes, mostly a series of translated works. Mozart's opera emerged as its outstanding original success. The inspector of the Nationalsingspiel was Gottlieb Stephanie. To this end, he brought a copy of his earlier opera Zaide and showed it to Stephanie, who was duly impressed.
Mozart also made a strong impression on the manager of the theater, Count Franz Xaver Orsini-Rosenberg , when in the home of Mozart's friend and patroness Maria Wilhelmine Thun the Count heard him play excerpts from his opera Idomeneo , premiered with great success the previous year in Munich. Bretzner later complained loudly and publicly about the theft. Mozart received the libretto from Stephanie on 29 July He had few opportunities to compose professionally during the summer and he set to work on the libretto at a very rapid pace, finishing three major numbers in just two days.
A letter to his father Leopold indicates he was very excited about the prospect of having his opera performed in Vienna, and worked enthusiastically on his project. At first Mozart thought he needed to finish his opera in only two months, because tentative plans were made to perform it at the September visit of the Russian Grand Duke Paul son of Catherine the Great and heir to the Russian throne. However, it was ultimately decided to perform operas by Gluck instead, giving Mozart more time. It was around this time that Mozart articulated his views about the role of the composer and the librettist in the preparation of an opera.
He wrote to his father 13 October I would say that in an opera the poetry must be altogether the obedient daughter of the music. Why are Italian comic operas popular everywhere — in spite of the miserable libretti? An opera is sure of success when the plot is well worked out, the words written solely for the music and not shoved in here and there to suit some miserable rhyme The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true phoenix; [5] in that case, no fears need be entertained as to the applause — even of the ignorant.
It would seem that something along these lines did happen—that is, Mozart decided to play a major role in the shaping of the libretto, insisting that Stephanie make changes for dramatic and musical effect. On 26 September Mozart wrote:. Now comes the rub! The first act was finished more than three weeks ago, as was also one aria in act 2 and the drunken duet ["Vivat Bacchus", act 2] But I cannot compose any more, because the whole story is being altered — and, to tell the truth, at my own request.
Sorry, we can't find the page you're looking for.
At the beginning of act 3 there is a charming quintet or rather finale, but I would prefer to have it at the end of act 2. In order to make this practicable, great changes must be made, in fact an entirely new plot must be introduced — and Stephanie is up to his neck in other work.
So we must have a little patience. Mozart was evidently quite pleased to have in Stephanie a librettist who would listen to him. The September 26 letter also says:. It may be the case he is only friendly to my face. But after all he is preparing the libretto for me — and, what is more, exactly as I want it — and by Heaven, I don't ask anything more of him. With the delays for rewriting, the composition took several more months. The premiere took place on 16 July , at the Burgtheater in Vienna. As Hughes notes, the action is mostly carried forward by the spoken dialogue, so the libretto gave Mozart little opportunity to display an achievement for which his later operas are celebrated, namely the construction of scenes in which the plot is both reflected in and driven forward by the music.
Die Entführung aus dem Serail, K.384 (Mozart, Wolfgang Amadeus)
Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism. The music includes some of the composer's most spectacular and difficult arias. Osmin's act 3 aria " O, wie will ich triumphieren " includes characteristic 18th century coloratura passage work, and twice goes down to a low D D 2 , one of the lowest notes demanded of any voice in opera.
Konstanze sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors. The virtuosity of these roles is perhaps attributable to the fact that when he took up the task of composing the opera, Mozart already knew the outstanding reputations of the singers for whom he was writing, and he tailored the arias to their strengths.
Similarly, Mozart wrote of the first Konstanze, Caterina Cavalieri , "I have sacrificed Konstanze's aria a little to the flexible throat of Mlle. The opera was a huge success. The first two performances brought in the large sum of florins, three times what Mozart's salary had been for his old job in Salzburg.
Although the opera greatly raised Mozart's standing with the public as a composer, it did not make him rich: The complexity of Mozart's work noted by Goethe also plays a role in a well-known tale about the opera which appeared in the early biography of Mozart by Franz Xaver Niemetschek. In the version of the anecdote printed in Bartlett 's Book of Anecdotes , a reference work, the story is told like this:.
The Emperor Joseph II commissioned the creation of The Abduction from the Seraglio , but when he heard it, he complained to Mozart, "That is too fine for my ears — there are too many notes. The authenticity of this story is not accepted by all scholars. The original reads as follows: For defense of Joseph from such criticisms, see Beales The singers perform with a Classical-era orchestra: They are augmented with the instruments needed for "Turkish" music: The aria, " Traurigkeit ward mir zum Lose ", is augmented by basset horn.