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Così fan tutte
This performance stands as compelling evidence that dramatic voices not only can—but should—sing Mozart. Gundula Janowitz, though already making her mark in Wagner and Strauss by this point, reveals that her soprano has retained all its signature purity and radiance. Christa Ludwig takes some time to settle in, with a slightly tentative "Smanie implaccabile," but she blossoms as the evening progresses. Her Act II duet with Walter Berry is a highlight—tender, beautifully phrased, and deeply felt. Berry, meanwhile, brings a youthful energy and warmth to Guglielmo, while Eberhard Wächter makes for a suave and intelligent Don Alfonso. The result is a Così fan tutte rich in vocal color and emotional nuance.
Track List
Act I
1. Sinfonia
2. La mia Dorabella capace non è
3. E la fede delle femmine
4. Una bella serenata
5. Ah, guarda, sorella
6. Vorrei dir, e cor non ho
7. Sento, oh Dio, che questo piede
8. Bella vita militar!
9. Di scrivermi ogni giorno
10. Soave sia il vento
11. Che vita maledetta è il far la cameriera!
12. Ah, scostaiti!... Smanie implacabili
13. In uomini, in soldati
14. Alla bella Despinetta
15. Temerari!... Come scoglio
16. Non siate ritrosi
17. Un'aura amorosa
18. Ah, che tutto in un momento
19. Si mora, sì, si mora
20. Eccovi il medico, signore belle!
2. La mia Dorabella capace non è
3. E la fede delle femmine
4. Una bella serenata
5. Ah, guarda, sorella
6. Vorrei dir, e cor non ho
7. Sento, oh Dio, che questo piede
8. Bella vita militar!
9. Di scrivermi ogni giorno
10. Soave sia il vento
11. Che vita maledetta è il far la cameriera!
12. Ah, scostaiti!... Smanie implacabili
13. In uomini, in soldati
14. Alla bella Despinetta
15. Temerari!... Come scoglio
16. Non siate ritrosi
17. Un'aura amorosa
18. Ah, che tutto in un momento
19. Si mora, sì, si mora
20. Eccovi il medico, signore belle!
Act II
21. Dove son? Che loco è questo?
22. Dammi un bacio, o mio tesoro
23. Andate là, che siete due bizzarre ragazze!
24. Una donna a quindici anni
25. Prenderò quel brunnetto
26. Secondate, aurelne amiche
27. La mano a me date
28. Il core vi dono
29. Barbara! Perché fuggi?
30. Per pietà, ben mi
31. Il mio ritratto! Ah, perfida!
32. Donne mie, la fate a tanta
33. Fra gli amplessi in pochi istanti
34. Tutta accusan le donne
35. Fate presto, o cari amici
36. Miei signori, tutto è fatto
37. Richiamati da regio contrordine
38. Fortunato l'uom che prende
22. Dammi un bacio, o mio tesoro
23. Andate là, che siete due bizzarre ragazze!
24. Una donna a quindici anni
25. Prenderò quel brunnetto
26. Secondate, aurelne amiche
27. La mano a me date
28. Il core vi dono
29. Barbara! Perché fuggi?
30. Per pietà, ben mi
31. Il mio ritratto! Ah, perfida!
32. Donne mie, la fate a tanta
33. Fra gli amplessi in pochi istanti
34. Tutta accusan le donne
35. Fate presto, o cari amici
36. Miei signori, tutto è fatto
37. Richiamati da regio contrordine
38. Fortunato l'uom che prende
Customer Reviews
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5.0
Based on 2 reviews
✓ Verified Buyer
Austria
A magical evening
I attended the premiere of this live performance at the Staatsoper, and also a second premiere a day or two later with Hilde Güden, Graziella Sciutti and Paul Schöffler, myself being a singing student in Vienna at the time. Günther Rennert’s production was light as a feather und delicate colours, quite magical and the singing of both casts some of the final examples of the great post-WW2 Vienna Mozart Ensemble. Maybe not today’s style, but the phrasing, the feel for Mozart has never been bettered and Krips was the ultimate master of this style, far more so than Karl Böhm ever was. So good to re-live the experience now.
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✓ Top Reviewer
United States
Terrific Cosi In Excellent Sound!
This Cosi fan tutte won't please those who like appoggiaturas, added cadenzas or an uncut text. If you're willing to transport yourself back to a time when larger voices sang Mozart regularly, you'll love this performance.Janowitz sings gloriously. Krips allows her both arias and they are balsam to the ear. Her passage work is acceptable though not stunning and she doesn't seem to possess a trill ( a problem in "Per pieta"). But who cares? Other sopranos can give you those. Few give you her ravishing tone. Ludwig goes from good to excellent - a pity her "E amore un ladroncello" is a casualty of the cuts. Miljakovic sang in Vienna for years and never lacked for work. Her voice is pleasing and her characterizations of the doctor and notary funny without being over the top. Dallapozza sings very well. You never have to strain to hear his top notes in the ensembles. His one aria "Un aura amorosa" (the others are cut) is sung with skill, but he doesn't provide the caressing tone that other tenors have. Berry is a first-rate Guglielmo, all smarmy macho charm. Wachter was better than expected at Alfonso. He proves an implacable anti-hero and sings extremely well. Krips leads his forces with assertiveness and style (albeit the style expected at that time).The sound is excellent. The Orfeo label also has this recording available, but for nearly three times Opera Depot's price. I can't imagine the sound is that much better.
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