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曲目リスト
| 1. The Impresario: Overture | |||
| 2. The Impresario: Arietta: Da schlagt die Abschiedsstunde | |||
| 3. The Impresario: Rondo: Bester Jungling! | |||
| 4. The Impresario: Trio: Ich bin die erste Sangerin! | |||
| 5. The Impresario: Vaudeville: Jeder Kunstler strebt nach Ehre | |||
| 6. The Beneficient Dervish: Sinfonia | |||
| 7. Erster Akt: Suet: Hier mussen wir uns beide trennen | |||
| 8. Erster Akt: Aria: Welche nie empfunde'ne Freude | |||
| 9. Erster Akt: Duet: Liebes Weib | |||
| 10. Erster Akt: Aria: Der Drache ist den armen Mannem gut | |||
| 11. Erster Akt: Chorus: O Abdallah | |||
| 12. Erster Akt: March | |||
| 13. Zweiter Akt: Chorus: Die Manner zu fesseln | |||
| 14. Zweiter Akt: Wind Music | |||
| 15. Aria: Sofrano, fuhltest du mein Leiden | |||
| 16. Zweiter Akt: March | |||
| 17. Zweiter Akt: Ballad: Ein Jungling frisch wie Milch | |||
| 18. Zweiter Akt: The Sea Battle | |||
| 19. Dritter Akt: Aria: So bald der Mann ist allzu Gut | |||
| 20. Dritter Akt: Duet: ach, die Teure liebet mich! | |||
全26曲を見る
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商品の説明
Amazonレビュー
Mozart's The Impresario (aka Der Schauspieldirektor) is the one-act singspiel about squabbling sopranos whose trifling nature leads audiences to assume it must be an early work although in fact it's a mature score, written alongside The Marriage of Figaro. This recording, done with period forces, has a light, clean elegance with neither the rhythmic energy of, say, an Eliot Gardiner reading nor the vocal beauty of the classic John Pritchard recording for Decca (which had Kiri te Kanawa and Edita Gruberová as the divas). Cynthia Sieden and Sharon Baker, however, make well-balanced rivals in the lead roles: bright and agile, and equipped for the high-lying coloratura Mozart puts their way. There is, alas, no evidence that Mozart put anything in the way of The Beneficent Dervish, and it shows in a score that offers not too much beyond period charm. But it's of interest as one of the musical pantomimes devised by Schikaneder just before The Magic Flute (another was The Philosopher's Stone to which Mozart almost certainly did contribute); and dramatically if not musically it shares so much in common with Flute that it almost qualifies as a preliminary sketch. This is the first-ever recording and it's neatly put together by Boston Baroque, one of the most respected ensembles of its kind in North America. The spangled, janissary exuberance of the writing--whosoever it might be--comes over with relish. And the elegant, scaled-down performances of singers like John Aler and (again) Sharon Baker make the whole thing pleasant enough--although you may not want to hear it twice.--Michael White
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