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Die Entführung Aus Dem Serail [Double CD]

William Christie , Schäfer/Petibon/Bostridge/AFL/Christie Audio CD

Price: £10.97 & FREE Delivery in the UK. Details
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Disc: 1
1. Die Entfuhrung Aus Dem Serail : Overture To Act 1 - William Christie
2. Die Entfuhrung Aus Dem Serail : Act 1 "Hier Soll Ich Dich Denn Sehen" "Aber Wie Soll Ich In Den Palast Kommen" [Belmonte] - William Christie
3. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Wer Ein Liebchen Hat Gefunden" [Osmin, Belmonte]
4. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Verwunscht Seist Du Samt Deinem Liede!" [Osmin, Belmonte]
5. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Konnt Ich Mir Doch Noch So Einen Schurken" [Osmin, Pedrillo]
6. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Solche Hergelauf'Ne Laffen" [Osmin]
7. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Geh Nur, Verwunschter Aufpasser" [Pedrillo, Osmin]
8. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Konstanze! Dich Wieder Zu Sehen! - O Wie Ängstlich, O Wie Feurig" [Belmonte] "Geschwind Auf Die Seite" [Pedrillo]
9. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 Marcia
10. Mozart : Die Entfuhrung Aus Dem Serail : Act 1 "Singt Dem Grossen Bassa Lieder" [Chorus]
See all 22 tracks on this disc
Disc: 2
1. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Pst, Blondchen!" [Blonde, Pedrillo]
2. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Welche Wonne, Welche Lust!" [Blonde]
3. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Frisch Zum Kampfe! Frisch Zum Streite!" [Pedrillo]
4. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Ha! Geht's Hier So Lustig Zu?" [Osmin, Pedrillo]
5. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Vivat Bacchus! Bacchus Lebe!" [Pedrillo, Osmin]
6. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Wein Ist Mir Lieber Als Geld Und Madcen" [Pedrillo, Osmin, Belmonte, Konstanze]
7. Die Entfuhrung Aus Dem Serail : Act 2 "Wenn Der Freude Tranen Fliessen" [Belmonte] - William Christie
8. Mozart : Die Entfuhrung Aus Dem Serail : Act 2 "Ach Belmonte! Ach Mein Leben!" [Konstanze, Belmonte, Pedrillo, Blonde]
9. Mozart : Die Entfuhrung Aus Dem Serail : Act 3 "Ich Baue Ganz Auf Deine Starke" [Belmonte] "Nun So Lass Uns Sie Befrein!" [Belmonte, Pedrillo]
10. Mozart : Die Entfuhrung Aus Dem Serail : Act 3 "In Mohrenland Gefangen War" [Pedrillo] "Sie Macht Auf, Herr!" [Pedrillo, Belmonte, Konstanze] "Gift Und Dolch! Was Ist Das?" [Osmin, Belmonte]
See all 17 tracks on this disc

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  2 reviews
3 of 3 people found the following review helpful
5.0 out of 5 stars An insider's recollections - all the secrets you wanted to know about this recording but never even thought of asking 18 April 2013
By Discophage - Published on Amazon.com
Hey avid music lovers and Mozart aficionados, let me fill you in with some insiders stories about this recording. I was fortunate to be the assistant director in the Strasburg Opera production (that's Strasburg in Alsace, France, not Salzburg, Austria) from which this recording originated. It was first mounted in 1995, and the cast was the same as on the record, except for Belmonte, sung (beautifully) by the French tenor Yann Beuron, and Konstanze (Rosa Mannion). The director was the Brit. and exquisite person Stephen Lawless. It was, I believe, young Patricia Petibon's first outing on stage - she was great, but had a STROOONG French accent. Blonde is supposed to be an English maid - not here !

The production was revived two years later in view of the recording, still with Rosa Mannion, but with up-and-coming Ian Bostridge as Belmonte - more hip than Beuron, I s'pose, but not necessarily better. Bostridge (also the author of a Phd thesis on Witchcraft in 17th century England!) has a silky, light mozartean tenor voice (Beuron had more of a Bach evangelist), but also very frail and insecure, and there was much stagewise that Beuron did two years earlier and that he refused to do. By then, Petibon had also made tremendous progress with her German accent. An anecdote: the production's concept of an English maid had been changed to that of a French maid to accommodate for her supposedly still French accent, but that implied obtaining Christie's approval to change a line of text and rhythm, in the Blonde-Osmin duett: "ihr Engländer" to "ihr Franzoser". When that finally came, Petibon actually had a hard time going back to a French accent in the the spoken text. But you needn't worry: none of that is on the record.

The idea was that the recording would benefit from the stage-life atmosphere brought by the performers participation to the recent production. Sadly, it turned out that Rosa Mannion was vocally worn in that revival, and finally she couldn't make the recording. I think she interrupted her career shortly after - a pity, as she is a wonderful person. Schäfer then jumped in, but only for the recording sessions then - hence perhaps the lack of involvement that some (not me) hear in her performance. And the last stroke: on the recording session days, it is Petibon that fell ill and couldn't sing. She was subsequently dubbed over the orchestra - nicely done: even knowing it I certainly cannot detect it, and no-one seems to have. Hence also the fact that it is an actress and not herself who delivers her spoken text in the recording - it is nicely done and the voices match acceptably, but still extremely frustrating when one has witnessed the wit and spirit of her exchanges with Osmin and Pedrillo on stage! Now that is a big loss!

By Christie's own admission, his big influence in shaping his ideas on Entführung was... the recording of Sir Thomas Beecham. Not a bad model, either, and that probably explains the beautifully balanced classicism of Christie's approach. It is played on period instruments, but without any of the sometimes convincing but often provoking excesses of tempo or dynamics that are the trademark of period-instrument conductors such as Norrington or Harnoncourt.

A last word on the production of Stephen Lawless. An unassuming man and (possibly consequently) underrated director, Stephen (who'd stepped in very late, following the cancellation by a first director) did a marvelous job, with the help of beautiful sets designed by the young Belgian Benoît Dugardyn, always finding convincing solutions to the riddles and apparent inconsistencies of the Libretto. What was of particular value in Lawless' approach was that he did not take Mozart's characters, as it is still too often done, as mere cardboard caricatures, but as characters of flesh and blood, and mind and feelings. One of the main themes his staging seeked to underline was that of the nagging doubt underlying each character's sentiment and love for his partner: Belmonte doubts Konstanze's love (he explicitly says so in his first aria), and that doubt may have some grounding, as Konstanze herself, despite her fiery rejection, may feel a secret attraction to Selim (easy to understand, when he's played by an actor as seductive as Jurg Low) - which makes her rejection of him all the more fiery. Pedrillo of course doubts Blonde, but she is not at all displeased to have two puppets to play with - and her ways do drive Osmin crazy. And Osmin is not just a ruthless brute, he is a refined, suffering man in love (wonderfully played by Alan Ewing), and his cruelty only derives from being cheated and abandoned. And what convices love-forlorn and betrayed Selim not to put the runaway Konstanze-Belmonte couple to death is not just a bout of sublime but unaccounted for clemency, it is the realization that his own love to Konztance will never reach the profoundity of the couple's love for one another in the face of incoming death. This theme of love strengthening through the tests and trials of doubt and threat of death runs deep in all of Mozart's operas, and I hope and believe some of that spirit is heard on the recording. Enjoy!
3 of 3 people found the following review helpful
5.0 out of 5 stars a voice teacher and early music fan 28 Aug 2012
By George Peabody - Published on Amazon.com

We need to imagine Mozart at the time of the creation of this opera, desperate to prove himself an operatic big-leaguer, but he doesn't know his own strength. However, for the first time his operatic voice explodes beyond the confines of the immediate situation. Who else would have heard in this conventional harem-rescue story such cosmic resonances? Mozart's fascination with the inner workings of the human spirit even makes Osmin far more than a stock comic character. Example: his brooding entrance aria "Solche hergelauf laffen" (Poponjays spring up from nowhere) projects deep depth, resonance and fluency.

It was really only a matter to time until William Christie(the American in Paris) got around to performing this opera (Nov.1997) and aren't we glad that he did so! For it bears the stamp of excellence throughout the entire performance. He chose light voices that adapt perfectly to Mozart's music; voices such as Ian Bostridge in the role of Belmonte who has come to rescue his lady-love from the clutches of Selem. Already well-known as a tenor lieder singer, he proves his worth herein by portraying his role sensitively and ardently. In his aria "Wenn der Freude Tranen fliesen" (When tears of joy flow freely)in which he sings passionately to Kostanze of his love, he literally melts the listener! Christine Schafer as Kostanze in her aria "Martem aller Arten" (tortures of every kind) dramatically rages at her present situation.

The secondary couple presents an interesting contrast to Belmonte and Kostanze who are thoughtful and serious, whereas Pedrillo (Ian Paton) and Blonde (Patricia Petibone) are coy and impetuous. Allan Ewing's Osmin's oice is a bit too light, but he has the lower notes to sing the part. Though there are two tenors, Paton & Bostridge, their voices are sufficiently different that there is no confusion in the recognition of them.

Mozart's lovely, troubling comedy really concerns the clash of values between Enllightened Europe and Ottoman Turkey. It does not lend itself easily to concert performance because its mix of speech and song is difficult to implement, so all the more credit to Christie that he pulls it off. This opera has been described as having a 'patchwork' of ingredients: now serious; now comic, drawing on varied traditions and all held together by the boisterous 'Turkish' music. Nonetheless, the whole thing sparkles and moves quickly and lightly forward at a comfortable pace. Even the dialogue does not 'bog down' as in some German speaking operas. Christie's tempos are ideal; his band plays superbly and the singers perform elegantly. This is a re-release of the original recording from 1997, so I personally have enjoyed it for years.

The package is accompanied by a 144 page booklet that includes pertinent information and the libretto in English , French and German.
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