Product Details

• Amazon Sales Rank: #18485 in Music
• Released on: 2000-09-04
• Number of discs: 3
• Format: Box set
• Dimensions: .91 pounds
• Running time: 165 minutes

Customer Reviews

The best sung and most musical Cosi available
If it is slightly unusual to have 2 recordings of the same opera by the same conductor in the shops 30 years after they were recorded, it is ever more rare to find 3. Karl Bohm’s expertise as a Mozartian conductor amply justifies this extravagance, and of his 3 recordings, this is his best. The overwhelming impression the recording leaves is one of sympathetic tempi. Bohm could never be accused of rushing Mozart, and to some tastes, he may seem a little slow. For my taste however, a more relaxed tempi allows every nuance and phrase to be articulated correctly, and so great is his control over Philharmonia Orchestra that this recording is a near flawless appreciation of Mozart’s phrasing genius.

Recorded in 1962, it has the advantage of capturing the finest cast on any recording. Fiordiligi was one of Schwarzkopf’s most famous roles, and her interpretation is glorious. She brought her considerable lyrical Lieder experience to the role, and her control and warmth of tone wouldn’t suggest that she was nearing the end of her performing (if not recording) career. Dorabella, musically, draws the short straw, with all the biggest and best pieces taken by her sister, but Ludwig prevents the role being seen as merely an also-ran to Fiordiligi. She was a musician of great talent, and, having sung opposite Schwarzkopf for the best part of the preceding 10 years, their voices blend so well as almost to convince one that they were sisters. Fiordiligi’s suitor Ferrando was played at short notice by Alfredo Kraus who shows, in one of his earliest recordings, why he would become one of the finest lyrical tenors of the next 20 years. In an opera absolutely filled with deceit, we are as convinced as Fiordiligi over his protestations of affection in "Fra gli amplessi". For Don Alfonso, Walter Berry conveys fully his machiavellian scheming, and his comic ability brings home to us how much Alfonso is relishing every moment. Finally Taddedi and Steffek are highly competent, although Steffek’s singing through her nose when in disguise (although not uncommon on stage) may annoy some listeners.

The real joy of the recording is the combination of conductor and cast in a near perfect rendition of the ensembles, where the musical heart of Cosi is to be found; items such as the farewell quintet in the first Act, the duet in the end of the 2nd Act, and the most beautiful trio ("soavo sil vento") that Mozart ever wrote. This recording is superior to all its competitors as no other so well combines quality of voice with quality of musicianship. The Bohm version in 1974 benefits from Janowitz and Schreier in the 2 lead roles, however the rest of the cast are weaker, and the performance was a live recording, with too many creaks of the stage and turning into and away from the microphones to make it particularly attractive. Fleming (Solti – Decca) and Caballe (Davies – Phillips) are more dramatic Fiordiligis (and sing her biggest aria Come scoglio better than Schwarztopf), however those recordings lack a cast that blend together very well, and some of the phrasing is weak.

In short, if you are only to buy one recording of Cosi, then the exceptional cast and Bohm’s inspired direction make this the best recording available (and good value for 3 CDs), and a most for every shelf.

The best!
Just a few words from an experienced operagoer and record collector: This is definitly the best recording of this opera ever made!