The cast in this performance is just about everything one could wish for. Berganza is splendid as is Moser. The great German soprano is not content with Mozart's one written high D so she adds several others in her cadenzas. Auger is a lovely Servilia and Hollweg a noble, patrician Tito. It's good to hear Rydl in a role before his strong bass began to wobble unpleasantly (I think he is still singing!). Gramatzki shows again why she was so highly regarded in Europe. Rudel conducts a memorable performance. The edition he uses has some of the arias in the second act switched to different locations and much of the recitative is cut (the entire recitative that begins the opera is a casualty). I suspect the final scene where Vitellia confesses her participation in the assassination plot was performed, but got lost somehow since Tito's final accompanied recitative begins so abruptly.The sound is listenable and pitched correctly, but suffers from a fidgety tapist who won't keep the mic still and an occasional worn, screechy original tape. Fortunately, none of this affects the main arias.For fans of the singers.

Wonderful cast! Wonderful conducting. Some tape squeals along the way (irritating, but the price of admission). So wonderful to have a Vitellia from Edda Moser! Such a dynamic artist with a voluminous voice that cuts to the quick. Impeccable fioratura and some interesting embellishments. I didn’t really feel character as much as direct expression, and expansive musicality. Teresa Berganza wows the audience with gorgeous tones and a sweetness of timber. It is nice to hear her so fulfilling in a Mozart role. Not much feeling of searching or torturous ambitions going to fanatical lengths with intense remorse, yet still musically exciting, especially in act 2. Arleen Auger as Servilia gives forth with tremendous poise and kind attention to saving the situation, with Public in good hands via Kurt Rydl and Ilse Gramatski, who would soon be making history as a Rheinmaiden in the Chéreau’s Ring at Bayreuth, in a very nicely turned performance as Annio. Werner Hollweg felt a little problematic as far as pitch at the beginning of his role. To these ears, it sounds slightly flat throughout his first moments and aria. Later, in Act 2, he gives to yelling. Not an effective choice I would think for an Emperor given to clemency and an affect to avoided in basic acting lessons. It makes the character generalized. Yet, to his credit her rises to the occasion and blows out the audience with his aria later in the drama to superb effect, rousing a terrific ovation from the audience in appreciations. The ‘Non piu dei fliori’ is what we wait for, and Moser delivers it completely with embellishments. If this was a performance in the USA, the audience would be cheering all the way through the transformation of scene music to the final scene. The conducting is supportive and expansive though lacking a certain kind of electricity. The vocalism supplies it in the big moments though the end of Act 1 and the resolution of Act 2 seem to need a bit more engagement to really come over the footlights. A very wonderful performance for all the great singers in this cast and a phenomenal document to house the work of Moser, Berganza and Auger in roles they did not record commercially. Very grateful to have this performance, which I will return to again and again.

The three most relevant and interesting evidences of this historical recordings of the splendid Opera are first of all, naturally, the concertation and orchestral conduction by M° Rudel, always qualified and appropriate for the stage; the magnificent interpretation of the very difficult and complex role of Vitellia by Mme Moser, in addition with beautiful and spectacular embellishments; and the fresh Servilia by Mme Auger. A confirmation is the interpretation of the title role by M° Hollweg, whose «Se all'Impero, amici Dei» is particularly incisive and persuasive.

1976 was a resurrection year for Clemenza in Vienna and in Salzburg. At the Salzach it was a Ponelle/Levin production, at the Wienfluss a Mirdita/Rudel productionm, eventually peformed at Staatsoper. Tito an dPublio were the same - and excellent - singers, but the female cast of the Theater an der Wien surpassed everything: a lovely and comitted Arleen Auger, a furious Edda Moser (adding another Mozartian highlight to Königin, Anna and Elettra) and the wonderful Teresa Berganza, caressing and celebrating the part of Sesto. Kind of fun that two New York centered conductors revealed this late Mozart masterpiece to Austrian audiences. But the fun suddenly ends, as Rudel certainly was not only New Yorker, he was Viennese, too. One of a shamefully large amount of losses for Austria caused by the nazis.The sound could be better. But probably not for an indoor audience recording.

I loved all the performers in this performance and bought it principally to get Edda Moser's Vittelia. She doesn't disapoint. Everyone else is in excellent form as well. The only reason I didn't give it 5 stars is that there are some minor recording issues BUT they are nothing that should stop one from hearing the performance. This is clearly identified by the seller.Edda Moser, was for me, one of the most exciting visceral Mozart singers.There is something almost static about the way she produces the voice and the fearlessness with which she sings. For a part like Vittelia this is perfect casting. Berganza is likewise, well cast. She sings with such simplicity and warmth and has excellent coloratura.

I bought this recording for Arleen Auger since she did not record Servilia. The rest of the cast was also a selling point. I expected Werner Hollweg and Teresa Berganza to be great in their roles. The biggest surprise for me was Edda Moser, who I have loved for years, but who really surpassed my expectations. Her singing was so incredible: very dramatic but with laser-focused accuracy. She hits all of the high notes with ease and interpolates a few exciting flourishes. She easily encompassed the wide range of the role of Vitellia.The buzzing sound evident at times did not mar my enjoyment of the performance. It sounds as though it was recorded from the lap of an audience member and there is a lot of extraneous noise at times, but this is as good as most of the “in house” recordings I have heard. Since Moser and Auger never recorded these roles, it’s a joy to have this performance.