Mozart

1. Requiem (Flv)

240 MB

2:05 I. Introitus
7:34 II. Kyrie
III. Sequentia
10:16 1. Dies irae
12:09 2. Tuba mirum
16:01 3. Rex tremendae
18:22 4. Recordare
23:32 5. Confutatis
25:54 6. Lacrimosa
IV. Offertorium
29:29 1. Domine Jesu
33:22 2. Hostias
38:00 V. Sanctus
39:50 VI. Benedictus
45:30 VII. Agnus Dei
49:13 VIII. Communio

Anna Tomowa-Sintow – soprano
Helga Muller-Molinari - mezzo-soprano
Vinson Cole - tenor
Paata Burchuladze – bass

Wiener Singverein
Wiener Philharmoniker
Herbert von Karajan – conductor
1986

There is no need to say anything about Mozart's Requiem, as the facts are mostly known. The point, however, is to review Karajan's interpretation. This recording by far is the finest I have heard. I heard Karajan's with the Berliner and the Wiener; Bohm's, Abbado's, Shaw's, and Muti's.

Karajan's Wiener stands out in the fact that the music seems to come from the voice and vice versa. It is not voice and orchestra playing side by side, but a beautiful whole that seems to stem one from the other. The playing is lean, yes; but you can hear minute details and still feel the amazing weight of Mozart's final masterpiece. It's leanness is not a diminishing factor here.

It has been creticized many times - the leanness of Karajan's late style, but it is a style that gives the listener the chance to interact with his music through searching and understanding it rather than merely listen to a conductor's interpretation. It It does not overwhelm the listener but allow's him/her to get to know the music better. --- Amir Ismail (Jeddah, Western Saudi Arabia)

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2. Le Nozze Di Figaro 2001 (Flv)

900 MB

Il Conte di Almaviva: Simon Keenlyside
La Contessa di Almaviva: Melanie Diener
Cherubino: Angelika Kirchschlager
Figaro: Carlos Alvarez
Susanna: Tatiana Lisnic
Bartolo: Maurizio Muraro
Marcellina: Francesca Pedaci
Basilio:Michael Roider
Don Curzio: Peter Jelosits
Antonio: Boaz Daniel
Barbarina: Ileana Tonca

Choir, Orchestra and Ballet of the Vienna Staatsoper. 
Ernst Dunshirn (Choirmaster)
Riccardo Muti (Conductor)

Le nozze di Figaro – it is hard to imagine a better interpretation of Mozart’s opera. Riccardo Muti’s conducting was peppy and had a revolutionary pull and much attachment to the details. Simon Keenlyside proved well disposed too as in voice and figure an elegant Count Almaviva who can hardly be dissuaded from his aims and who in the end does not even succeed in getting rid of the amiable Cherubino who is excellently cast with Angelika Kirchschlager. Only Melanie Diener as Countess Almaviva has certain vocal problems and does not always sing clearly and properly. On the other hand, Francesca Pedaci as Marcellina and Maurizio Muraro as Bartolo have their great entrances including two otherwise rarely played arias in Act IV. Boaz Daniel as gardener Antonio, Ilona Tonca as his daughter Barbarina, Peter Jelosits as Don Curzio and Michael Roider as Don Basilio fit well into the cast too. At the end there were deserved cheers for all the artists including the Chorus of the State Opera on stage and in the pit. --- simonkeenlyside.info

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