MOZART ARIAS sung by HILDE GÜDEN

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MOZART ARIAS
sung by
HILDE GÜDEN

Wiener Philharmoniker
Orchestra of the Accademia Nazionale di Santa Cecilia
Alberto Erede · Clemens Krauss
Int. Release 01 Sep. 2014
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Track List

Wolfgang Amadeus Mozart (1756 - 1791)
Hilde Gueden, Wiener Philharmoniker, Alberto Erede

Il re pastore, K.208

(Metastasio)

Act 2

Hilde Gueden, Walter Barylli, Wiener Philharmoniker, Alberto Erede

Die Zauberflöte, K.620

Act 2

Le nozze di Figaro, K.492

Act 2

Hilde Gueden, Wiener Philharmoniker, Alberto Erede

Act 4

Idomeneo, re di Creta, K.366

Act 2

Non più, tutto ascoltai - Non temer, amato bene, K.490

Le nozze di Figaro, K.492

Act 2

Giuseppe Verdi (1813 - 1901)
Rigoletto

Act 1

9.
4:39

Act 2

Hilde Gueden, Wiener Philharmoniker, Clemens Krauss

La traviata

Act 1

Falstaff

Act 3

Giacomo Puccini (1858 - 1924)
Gianni Schicchi

Turandot

Act 1

Act 3

Hilde Gueden, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede

Total Playing Time: 1:09:54

A stylish "Esultate, jubilate" with accomplished passagework and trills opens the disc. "L'amerò, sarò costante" from "Il Rè Pastore" . . . is handled adeptly, in a cool instrumental manner that reminds one of Maria Callas' admonition not to sing Mozart as if one were on tip-toes. An imaginative cadenza with string accompaniment at the conclusion adds an unexpected bravura touch. Pamina's "Ach ich fühls", on the other hand, offers a flesh and blood character poignantly and movingly drawn, the complex vocal hurdles of this treacherous piece deftly handled. Susanna's two arias from "Figaro" are a delight. "Venite inginocchiatevi" is warm, knowing and loaded with personality; "Deh vieni non tardar" sensual, elegant and impressive for its dynamic control . . . A dramatically engaged, vocally impressive reading of Ilia's "Se il padre perdei" from "Idomeneo" is followed by a rarity from that opera, "Non temer, amato bene" . . . Lauretta's often cloying "O mio babbino caro" from Gianni Schicchi is delivered in a manner refreshingly direct, charming and persuasive . . . "Tu che di gel cinta" is extremely successful. Gueden is attentive to Puccini's dynamic markings, and the character sounds drained and exhausted as intended. The presence of Alberto Erede at the helm for the "Traviata", "Falstaff" and "Puccini" selections have a beneficial stylistic effect.