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Die Zauberflöte, K Sheet Music is Scored for Full Score. "Marsch der Priester" and "Adagio", No. 9 from "Die Zauberfl?te", Act 2 (K) (Full Score).
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Un'aura amorosa del nostro tesoro Ferrando. Ah che del sole il raggio. Secondate, aurette amiche Ferrand. Il tutto deponete sopra quei tavolini Don Alf. Donne mie, la fate a tanti a tanti Guglielmo. In qual fiero contrasto, in qual disordine Fe. Tradito, schernito dal perfido cor Ferra. Fra gli amplessi in pochi istanti Fiordi. Ah poveretto me, cosa ho veduto! Sani e salvi agli amplessi amorosti Ferr.

Al voi s'inchina bella damina Fiordiligi. Fortunato l'uom che prende ogni cosa Tut. Ouverture Adagio - Allegro. Nur geschwinde" Pamina, Pap. Box set Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase. Related Video Shorts 0 Upload your video.

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There was a problem filtering reviews right now. Please try again later. Audio CD Verified Purchase. I now own three recently issued Klemperer boxes: Beethoven Symphonies, Romantic Symphonies, and Concertos. I like Otto Klemperer. This Mozart Operas box is a tremendous bargain, like the others I've mentioned, but these recordings ought not to be the only ones you own of these operas "Marriage of Figaro," "Don Giovanni," "Cosi Fan Tutte, " and "Magic Flute".

They are idiosyncratic, problematic, and yet very compelling, but for purposes of comparison, you would do well to have on hand Guilini's "Marriage" and "Don Giovanni," Abbado's or Haitink's "Flute," and Solti's or Davis's "Cosi. It's considered a "classic of the gramophone," so I'll say no more about it here. The other operas are paced much more deliberately than one usually hears, so their success depends on the quality of the cast and their ability to bring their roles dramatically to life under Klemperer's direction. The Klemperer sound is well to the fore: Or rather, where does it work and where doesn't it?

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That doesn't make the sound bad, but it's a distraction for a while. Comments on individual operas follow: Geraint Evans is Figaro, and he's very good, singing with character he's a bitter, angry Figaro and well-supported tone. Teresa Berganza is Cherubino, as good as any on record. Margaret Price and Kiri Te Kanawa!

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Their voices are edgily caught by the microphones, and Grist's perky soubrette voice doesn't seem right for the part. Where was Lucia Popp? The Count is Gabriel Bacquier -- not really in command of all of the music here. So it's a mixed bag, and when the singing is less than stellar, it can be drag.

Wolfgang Amadeus Mozart

When Evans and Berganza take center stage, they make it work. Claire Watson is a tentative Donna Anna, and Nicolai Gedda struggles with the florid run in "Il mio tesoro" taken uncomfortably slowly , but Christa Ludwig is a committed Elvira, Walter Berry a very positive Leporello, Franz Crass a fine Commendatore, Popp a lively Zerlina, and above all, there's the wonderful bass sound of Ghiaurov as the Don.

The final scene in Guilini's version from "Gia la mensa" on is one of the great ones, but listen to Klemperer's. It's slower, but the drama is never in doubt, with everyone singing and acting their heads off. I don't prefer that final scene to Guilini's, but it's totally successful on its own terms.

I was surprised -- the closest thing to a total success, apart from the "Flute. None of these singers has any trouble being expressive at Klemperer's tempi, and the result is compelling.

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The pace gives an undertone of sobriety to the whole thing no sparkle here , but arguably this opera shouldn't sparkle. It's a very dark comedy indeed. Karl Bohm's EMI version perhaps comes closest, but this is very fine. Price was a very great artist, and Yvonne Minton tended to be overshadowed in the public mind by Janet Baker Davis's great Dorabella , but she was a great singer in her own right.

The ensembles are just beautifully lucid, with Sotin's bass sitting under everything like the Rock of Gibraltar. Is the box worth the price? Awesome singing, very good recording. I love the slower tempi as it allows more depth and meaning to the words. John Fowler Top Contributor: The sound was not remastered for the reissue, but is very good indeed. It is now included in this 11 CD box of Mozart, published in The performance is heavy and dramatic.

Not the currently accepted Mozart style.

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According to this tradition, the conductor was, in effect, a collaborator with the composer, fleshing out each score with a hundred modifications of tempo, voicing, and emphasis unique to the conductor's understanding of the music. Wagner had promulgated his theory of performance as a direct rebuke to the conducting of Felix Mendelssohn.

The latter composer-conductor preferred to maintain an unvaried and usually speedy tempo through the major sections of a movement, striving for accuracy and clarity, and allowing the score to speak for itself without undue coloring from the performer. Mendelssohn's approach established a lineage of its own, and found its greatest proponent in Arturo Toscanini.

The two conductors each privately criticized the other's work, but they remained on cordial terms until politics intervened in the '30s. He maintained that art was a matter entirely separate from politics, and that his nation needed someone like him to maintain the great German artistic traditions during this period of upheaval. In other words, he thought of his concerts as an infinitely nobler sort of morale-boosting U. To some extent, this made his performances spontaneous by default, because little had been settled during rehearsal; he sometimes made no effort to clarify his desires for the orchestra.

His comments could be as vague as his beat. And his efforts to protect the Berlin Philharmonic's Jewish musicians ultimately came to little, though not for lack of trying. With three exceptions, he refused to conduct in occupied countries; he protested beginning a concert in Vienna until the swastika banners -- "those rags" -- were removed; and he adopted the habit of coming on-stage with baton in hand so he wouldn't be able to give the required Nazi salute. He managed to work within the system nearly until the end of the war, giving apolitical concerts in exchange for being a rather troublesome propaganda tool.

In he was offered the directorship of the Chicago Symphony, but vilification and protest -- much of it from leading musicians -- caused the offer to be withdrawn. Similarly, an opportunity to become the Metropolitan Opera's musical head was quashed in Yet the two things were in a deep sense one. His social unworldliness, his inability to deal with people with whom he felt nothing in common, his indecisiveness before the practical decisions of life, his profound sense of Germanness, his obstinate belief that art had nothing to do with politics -- all these and the grand idealism of his interpretations were expressions of the same nature, the same exalted philosophical outlook; they reflected the sheltered, highly civilized upbringing he had received.

He resumed his regular appearances with the Berlin and Vienna Philharmonics, enjoyed annual engagements at the Lucerne Festival, reopened the once Nazi-tainted Bayreuth Festival in with a performance of Beethoven's "Symphony No. This time, depressed by his hearing impairment and ashamed of his great culture's recent descent to evil, he surrendered to the illness and died peacefully in a clinic near Baden-Baden. Harmonically, the music is defiantly tonal, sharing a bit of the lush, overripe romanticism of such interwar Austro-Germanic composers as his one-time teacher Max von Schillings, Franz Schreker, and Franz Schmidt.

He has secured the interest of posterity, though, on the strength of his conducting. As mentioned, he hated the constraints of the recording studio, bemoaning the practice of reducing great symphonies and concertos to series of tiny, isolated chunks to be played again and again until they were "perfect.