Quite – but that’s not all, so do read his booklet-note first. Likewise using a modern copy of an Anton Walter fortepiano, Brautigam favours rather fleeter tempi, and a more direct style of phrasing, than Robert Levin on his fine L’Oiseau Lyre recording with Christopher Hogwood (11/96 – nla). Throughout Gardiner and his team recognize what he indicates in another note, the fact that Mozart conceived the work as through-written without any breaks in the piece's forward movement. In the Overture and some of the early numbers, Christie is inclined to clip his rhythms with accents almost brusque, but once the Pasha and Konstanze appear on the scene, he settles into an interpretation that evinces the elevated sensibility that informs his Rameau, Handel – and indeed Die Zauberflote – on disc, strong on detail but never at the expense of the whole picture. Often this opening isn’t inward enough and sometimes the tempo is too fast for Allegro moderato. Paul Lewis and the Leopold String Trio excel in this, with their feeling for its structure and its tension: I am thinking primarily of the first movement of the G minor, and especially of its great climax at the end of the development section, which is delivered with a power and a sense of its logic that are compelling. Here are all the sonatas, plus the Fantasia in C minor, K475, which is in some ways a companion piece to the sonata in the same key, K457. The Vienna Phil are on top form Instrumental sonority, too, is meticulously judged: hear especially the voicing of the brass-and-wind chords during bridge passages in the ‘Benedictus’ or the shifting orchestral perspectives of the ‘Confutatis’. The Act 4 finale has many good things—note the prominent giggling viola phrase where Figaro at last realizes that the 'Countess' is Susanna in disguise and the apt, unexaggerated but very effective, timing of the denouement: though I wish Gardiner had not risked sentimentalizing the Andante of the Count's plea for forgiveness by taking it so very slowly. He never puts a foot wrong. But the remaining four works, written in the last four years of Mozart’s life, are a different matter. When this, the latest, was produced it was universally hailed: as faithful a representation of the equivocal comedy as one could wish. Carol Vaness's Anna, so imposing in the theatre, is both bold and impassioned, hardly an inexperienced girl yet properly outraged by Giovanni's behaviour. An un coagulated sound is an ever-present aspect of this ensemble’s style. Every note, every detail, goes unnoticed. It is a sure sign of the greatness of Mozart’s music that it has proved so ripe for re-interpretation and discovery by every generation of musicians for 250 years. Hillevi Martinpelto, the Swedish soprano who made such an impression in the last BBC Cardiff Singer of the Year, is a properly impetuous Elettra who has no trouble with either the eloquent (''Idol mio'') or crazed side of the character and whose vocal allure will take her far. Figaro and Susanna are very much the centre here, and we like them not only because they sing and act well but because they are sympathetic in a modern way. Finley’s embarrassed grins, as he tries to convince Donna Anna and Don Ottavio that Donna Elvira is mad, are a joy to behold; and his fear before the confrontation with the Commendatore in the supper scene is palpable. Haskil suffered from stage fright for a long period and did not begin recording until late in her career. Giuliano Carmignola vn Mozart Orchestra / Claudio Abbado. Clear but velvety ringing tone, perfect voicing of chords, unsleeping alertness to the necessary subtleties of rubato and line, and above all an ability to realise this music’s intimate poetry that can make you catch your breath, make these performances the kind that any musician should listen to and learn from. That said, its characteristics are rather nearer my period-performance choice, Christie’s 1995 set.Abbado undertook the opera for the first time in performances in Italy last year, directed by his son (the production will come to this year’s Edinburgh Festival). Natural horns lend a welcome abrasiveness to the tuttis; and the instrument’s variegated colours give added piquancy to the horn tune that sails in out of the blue near the end of the first movement. But as his performance of the Alla turca Sonata, K331, shows, technique isn’t allowed to edge ahead of emotional and intellectual depth. For my own part, I rather enjoy it, although there are some string passages that almost get lost. This new recording from Japan, which joins Suzuki’s scholarly and startling Requiem, is fully worthy to join them. Most impressively, this performance captures the full theatrical potency of the unfurling plot. Robin Golding (October 1977). I have rarely encountered such an affectionate and warmly stylish performance of the Allegro, and the Andantino is ravishing. Provided the musicians are of the finest quality, of course. Here is a Figaro to put with the 1973 Glyndebourne production placed among the top five operatic DVDs (4/08). 19, 20, 21, 23, and 24, along with Rondos K. 382 and K. 386. They didn’t spoil my enjoyment of the DVD, and nor did anything else. Yet the charm is there as well, both in a seductive Serenade (excellent mandolin) and a confident, easily declaimed Champagne (so-called) aria. 20. But his assumption of Giovanni is completely convincing. David Threasher (May 2014), Margaret Price, Trudeliese Schmidt, Francisco Araiza, Theo Adam; Staatskapelle Dresden / Peter Schreier. In matters of phrasing, articulation, melodic shaping, they here benefit from their previous achievement: this is a taut, raw, dramatic reading, yet one that fully allows for tenderness and warmth. Mozart: The Great Piano Concertos, Vol. That is all amply confirmed in this finely balanced, intimate recording. Alan Blyth (August 1995), Sols incl Waechter, Sutherland, Schwarzkopf; Philharmonia Orchestra / Carlo Maria Giulini. The C minor work, K406, is an arrangement by Mozart of his Serenade for six wind instruments, K398. The last string quintets from Mozart’s pen were extraordinary works, and the addition of the second viola seems to have pulled him to still greater heights. All products and recordings are chosen independently by our editorial team. That’s confirmed by this DVD. 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