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Mozart: Die Entführung aus dem Serail Box set


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Product details

  • Audio CD (13 Aug 2012)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Box set
  • Label: Decca (UMO)
  • ASIN: B008255T2O
  • Other Editions: Audio CD
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 18,822 in Music (See Top 100 in Music)

Disc: 1
1. Ouvertüre - Wiener Philharmoniker, Georg Solti
2. "Hier soll ich dich denn sehen...Aber wie soll ich in den Palast komm" - Gösta Winbergh, Wiener Philharmoniker, Georg Solti
3. "Wer ein Liebchen hat gefunden" - "Verwünscht seist du samt deinem Liede!" - Gösta Winbergh, Martti Talvela, Heinz Zednik, Wiener Philharmoniker, Georg Solti
4. "Solche hergelaufne Laffen" - "Was bist du nur für ein Mensch!" - "Erst geköpft, dann gehangen" - Gösta Winbergh, Martti Talvela, Heinz Zednik, Wiener Philharmoniker, Georg Solti
5. "Konstanze, dich wiederzusehen" - "O wie ängstlich, o wie feurig" - Heinz Zednik, Gösta Winbergh, Wiener Philharmoniker, Georg Solti
6. "Singt dem großen Bassa Lieder" - Will Quadflieg, Edita Gruberova, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Georg Solti
7. "Ach ich liebte, war so glücklich" - Edita Gruberova, Gösta Winbergh, Will Quadflieg, Heinz Zednik, Martti Talvela, Wiener Philharmoniker, Georg Solti
8. "Marsch! Trollt euch fort!" - Gösta Winbergh, Martti Talvela, Heinz Zednik, Wiener Philharmoniker, Georg Solti
9. "Durch Zärtlichkeit und Schmeicheln" - Kathleen Battle, Martti Talvela, Wiener Philharmoniker, Georg Solti
10. "Ich gehe, doch rate ich dir" - Wiener Philharmoniker, Georg Solti, Edita Gruberova, Will Quadflieg, Heinz Zednik, Gösta Winbergh, Martti Talvela, Martha Heigl, Daniela Wagner, Johann Reinprecht, Josef Pogatschnig, Wiener Staatsopernchor, Walter Hagen-Groll, Kathleen Battle
See all 12 tracks on this disc
Disc: 2
1. "Kein Bassa, keine Konstanze mehr da?" - Kathleen Battle, Heinz Zednik, Wiener Philharmoniker, Georg Solti
2. "Frisch zum Kampfe" - Heinz Zednik, Martti Talvela, Wiener Philharmoniker, Georg Solti
3. "Vivat Bacchus! Bacchus lebe!" - Gösta Winbergh, Heinz Zednik, Martti Talvela, Wiener Philharmoniker, Georg Solti
4. "Wenn der Freude Tränen fließen" - Gösta Winbergh, Wiener Philharmoniker, Georg Solti
5. "Ach Belmonte! Ach, mein Leben!" - Edita Gruberova, Gösta Winbergh, Heinz Zednik, Kathleen Battle, Wiener Philharmoniker, Georg Solti
6. "Ich baue ganz auf deine Stärke" - Heinz Zednik, Gösta Winbergh, Wiener Philharmoniker, Georg Solti
7. "In Mohrenland gefangen war" - Heinz Zednik, Gösta Winbergh, Edita Gruberova, Martti Talvela, Kathleen Battle, Wiener Philharmoniker, Georg Solti
8. "Ha, wie will ich triumphieren" - Martti Talvela, Gösta Winbergh, Will Quadflieg, Edita Gruberova, Wiener Philharmoniker, Georg Solti
9. "Welch ein Geschick!" - Edita Gruberova, Gösta Winbergh, Will Quadflieg, Heinz Zednik, Martti Talvela, Wiener Philharmoniker, Georg Solti
10. "Nie werd' ich deine Huld verkennen" - "Bassa Selim lebe lange" - Edita Gruberova, Gösta Winbergh, Kathleen Battle, Heinz Zednik, Martti Talvela, Wiener Philharmoniker, Georg Solti
See all 11 tracks on this disc

Customer Reviews

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Most Helpful Customer Reviews

11 of 11 people found the following review helpful By A Customer on 22 Dec 2000
Format: Audio CD
This opera is very good and really has some melting moments as well as much humour. The Swede Tenor Winbergh is decent and does well here, however he sounds a bit white and butter coloured for this role and his voice is not as elastic as it should be for the role. As perky Blondchen the maid, Kathy Battle shines like a diamond in all her scenes and her tone is constantly girlish and strong. The tragic flaw in her experience is in "Zartlichkeit" aria when Mozart asks her to stacatti and hold for two beats a E natural above High "C". She completly bombs it. I suppose they left it in because the prior 4 minutes of the aria were perfectly sung. Still whenever I want to make a joke clear to my friends, those last two bars she literally screeches out. It bring tears of laughter every time. This must be the biggest mistake of her recording career besides her "Rosina" for DG. I wonder if I am the only one to notice this horribly sung note? I doubt it.
Well The Osmin of Martti Tavela is blustery and low.Very fine indeed no dissapointment there.
Which leaves Solti and Gruberova.
She is fantastic; he is bombastic. The voice of Gruberova was created in the role of Constanza or vice versa it seems. She is astounding. Cold and hard one minute high, screechy and warm the next. Her high C is nothing more than a cry of light. Her High D's are glass cutting razors full of beauty. She captures the German style perfecly. Every aria is well balanced every note held with edgy effect and talk about agilita! This bird voice sings triplets and full octave runs as if her life depended on it. The effect is dazzling. The showpiece "Marten Aller Arten" has no equal, she just nails it all to the wall and it hangs there reducing you to Mozart Mania.
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7 of 7 people found the following review helpful By E. A. Redfearn TOP 1000 REVIEWERVINE VOICE on 7 Aug 2002
Format: Audio CD
Any fan of Mozart who is familier with the film "Amadeus" will recall the scene after this opera was first performed; not well received because it had "too many notes". Its all nonsense of course, because this is one of Mozart's most popular operas. Its a nicely balanced opera despite certain misgivings about one or two of the singers by fans and critics alike. My own view, it works well, is nicely performed and played, and leaves a sense of satisfaction after every hearing. And why shouldnt it? The recording is nice too, and can be bought at a good price. If you want a quiet evening listening to a Mozart opera which lasts barely two hours, you cannot go wrong with this.
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1 of 1 people found the following review helpful By Mr S D Carter on 13 Dec 2012
Format: Audio CD Verified Purchase
This opera is younger Mozart at his best - exuberant, joyful and inventive. Solti is an unfussy conductor and his cast sing brilliantly. At times the music can feel like the Magic Flute in its simplicity, not so profound, but hugely enjoyable
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 18 reviews
14 of 15 people found the following review helpful
Great performance 29 Dec 2002
By A Customer - Published on Amazon.com
Format: Audio CD
This is a really great performance. Perhaps if Solti moved a touch faster in Konstanze's first two arias, this recording would have been even better. But hey, this is a nothing when Gruberova's singing as Konstanze is so astonishing!! You have to hear Gruberova to believe it. She spins out the super high sustained pianissimo effortlessly like nobody else can do!!! Her technical mastery of Konstanze's arias is acknowledged to be unsurpassed. She is no doubt a Queen of coloratura and you'll understand why when you hear this recording. Winbergh is wonderful as Belmonte, and with miraculous breath control in his arias. I couldn't believe my ears when I heard him sing. His breath control technique is just incredible. I half expected him to burst like a balloon but no, he just went on singing beautifully. Battles's bewitching Blonde is another star of this recording. Her control of the runs is superb. And she hits the high F at the end of the aria very very firmly. No doubt about it. She can do it. Her silvery voice is the perfect foil to Osmin. Talvela is hilarious and wonderful as Osmin,the eternally frustrated harem . He does the low-lying runs and trills wonderfully. You really feel his character - that his bark is wonderful. Zednik is wonderful as Pedrillo. He fits into this recording. The VPO is as usual, incredible. When you listen to the many recordings by VPO, you always wonder how one orchestra can produce so many types of sound. In this case, the VPO sounds distinctly Turkish (boy, how do they do it?). They show themselves as one of the great orchestras of the world.
Solti's conducting is terrific. He was far ahead of his time. When this recording was released, ill-humour British critics said his tempi were too fast. But look at Mozart period practices today, some of them are even much faster and now lauded by the same critics!!! No, Solti's conducting is not too fast. His tempi are finely and knowledgeably judged, a touch slow at times but that doesn't do this recording any damage.
10 of 10 people found the following review helpful
Ideally cast and beautifully performed! 26 Feb 2003
By Armindo - Published on Amazon.com
Format: Audio CD
The Abduction from Serail is a difficult opera to cast: firstly, there are two tenor-soprano couples thus the voices of the performers must differ. This becomes even more important in a recording when one does not see the singers in order to distinguish them; secondly, both sopranos sing stratospheric high notes so we need two superb coloraturas, one of which must have enough lyricism to sing a moving Kostanze. Finally, the part of Osmin is very important therefore a good baritone is also needed.
The great maestro Solti found the ideal artists and created an excellent recording of Mozart's beautiful opera. Gruberova is heard at her best here. Her Bellini and Donizetti roles pale in comparison to what she does as Kostanze. Touching, exciting, perfect! Winberg as her lover is moving and, when needed, heroic (though not as beautiful as the legendary Wunderlich). Battle is lovely and has no problems with Blonte's arias. Talvela remains one of the great Osmins on record.
Another advantage of this set is that the singers (and not other actors) perform the dialogues. Finally, the digital sound is certainly also a plus.
The earlier (1973) DG Bohm recording has an equally great cast but suffers from the "dialogue problem" (this does not prevent me from warmly recommending that recording as well). The recently recorded Christie recording is another great choice.
6 of 6 people found the following review helpful
Absolutely electric performance 8 Aug 2004
By Operachild2008 - Published on Amazon.com
Format: Audio CD
Edita Gruberova is in my opinion the greatest coloratura of all time. Every high note is flawlessly formed and although the low notes are at times a little tired, everything else is flawless. Especially remarkable is Gruberova's effortless pianissimo high notes. She builds them from a tiny pin-prick of sound all the way to fortissimo and then back to pianissimo with complete ease. This recording is worth buying simply to hear Gruberova's performance. Kathleen Battle is delightful, but I think there is better out there. Her technique is lacking and at times some strain enters into the voice. The Belmonte while fabulous in my opinion can't live up to the recordings I've heard of Wunderlich singing the role. I especially dislike this Belmontes pianissimo treatment of the high A in O wie Angstlich. Wunderlich also has more freedom and brilliance in his voice. That said, this recording despite it's flaws is still deserving of the 5 star rating simply from Gruberova's performance.
9 of 10 people found the following review helpful
The best available today 15 Feb 2000
By J. Buxton - Published on Amazon.com
Format: Audio CD
I don't understand what The Penguin Guide has against this recording (they don't recommend it), because in my view it is the best recorded performance of this opera available today. Solti has an innate sense for Mozart and with the VPO he puts forth lots of beautiful sound. The soloists are almost beyond reproach. Anytime you can capture Gruberova singing Mozart it is a real treat, Battle is on form, as is Zednik. This is just fun to listen to repeatedly.
4 of 4 people found the following review helpful
A sparkling recording 2 Dec 1999
By "nucmed" - Published on Amazon.com
Format: Audio CD
This is a very fine version of Mozart's great youthful opera. The first thing you notice, right from the Overture, is the scintillating quality of the sound recording as well as the lush playing of the Vienna Philharmonic.
The singers are almost all at the top of their form. I particularly like the ditty "In Mohrenland gefangen war" which Heinz Zednik imbued with great romantic longing, as well as the prison duet, rendered with heaving passion by Gosta Winbergh and Edita Gruberova. And, needless to say, Gruberova's "Marten aller Arten" is simply thrilling, as are the Janissaries' choruses.
The only weak spot, in my opinion, is Martti Talvela's terribly imprecise singing as Osmin. His "Ha, wie will ich triumphieren" is a real letdown. The Osmin in Eugen Jochum's recording is my reference here. (I don't remember his name, but he was terrific.)
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