- Audio CD (5 Dec 1996)
- Number of Discs: 3
- Format: Box set
- Label: Deutsche Grammophon
- ASIN: B0000012WR
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 557,370 in Music (See Top 100 in Music)
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Ference Fricsay's short demise as conductor and Mozartian is a great loss to the musical world.
This live recording of Idomeneo at the Salzburg Festival on 26.7.1961 is a 'wonder' in more sense than one - it is probably one of the earliest recorded versions of this opera seria by Mozart.
Idomeneo came into popularity later in the 1960's. Luciano Pavarotti made the two tenor roles in this opera his signature roles for Mozart: Idamante, then later the title role, Idomeneo. In later recordings, Idamante came to be tackled by mezzo-sopranos. In this historical recording, Idamante was Ernest Haefliger, while the title role of the King Idomeneo was Waldemar Kmentt, a heldentenor.
If one has to assess an opera by means of the conductor's treatment of the score, I would gladly give full marks to Ferenc Fricsay. It is evident from this recording that the audience at Salzburg wasn't familiar with this opera in 1961. There are places where applauses were made at the wrong moments. Fricsay and the Vienna Philharmonic gave the score its greatest due - the music was glorious and full of drama, while abundant in lyricism. The recitatives are alive and dramatic, and there is nothing boring even if the genre is an 'opera seria' and not buffa.
The two sopranos and two tenors are also well-contrasted. Elecktra was spinto soprano Elisabeth Gruemmer, while Ilia the lyrical soprano Pilar Lorengar. Both sopranos gave wonderful portrayals of the two different princesses. Gruemmer was totally effective in depicting a temperamenta and suspcious Elecktra, while Ilia was justly timid and shy. The crown of this performance is for Waldemar Kmentt, who sang the title role with full regality and great expressivity. Ernest Haefliger, the famous lyrical tenor of choice of Fricsay, had a considerably hard time in depicting a young lad in the opening Act and Scene, but the efforts eventually paid off as in the later scenes his voice warmed up and he gave a convincing portrayal.
While the singers are all first rate, the biggest credit goes to Ferenc Fricsay, who gave this work the due dramatic treatment. If every conductor has the talent of a Fricsay in handling Mozart's operas seria, the classical music world would be far richer indeed!
This live recording of Idomeneo at the Salzburg Festival on 26.7.1961 is a 'wonder' in more sense than one - it is probably one of the earliest recorded versions of this opera seria by Mozart.
Idomeneo came into popularity later in the 1960's. Luciano Pavarotti made the two tenor roles in this opera his signature roles for Mozart: Idamante, then later the title role, Idomeneo. In later recordings, Idamante came to be tackled by mezzo-sopranos. In this historical recording, Idamante was Ernest Haefliger, while the title role of the King Idomeneo was Waldemar Kmentt, a heldentenor.
If one has to assess an opera by means of the conductor's treatment of the score, I would gladly give full marks to Ferenc Fricsay. It is evident from this recording that the audience at Salzburg wasn't familiar with this opera in 1961. There are places where applauses were made at the wrong moments. Fricsay and the Vienna Philharmonic gave the score its greatest due - the music was glorious and full of drama, while abundant in lyricism. The recitatives are alive and dramatic, and there is nothing boring even if the genre is an 'opera seria' and not buffa.
The two sopranos and two tenors are also well-contrasted. Elecktra was spinto soprano Elisabeth Gruemmer, while Ilia the lyrical soprano Pilar Lorengar. Both sopranos gave wonderful portrayals of the two different princesses. Gruemmer was totally effective in depicting a temperamenta and suspcious Elecktra, while Ilia was justly timid and shy. The crown of this performance is for Waldemar Kmentt, who sang the title role with full regality and great expressivity. Ernest Haefliger, the famous lyrical tenor of choice of Fricsay, had a considerably hard time in depicting a young lad in the opening Act and Scene, but the efforts eventually paid off as in the later scenes his voice warmed up and he gave a convincing portrayal.
While the singers are all first rate, the biggest credit goes to Ferenc Fricsay, who gave this work the due dramatic treatment. If every conductor has the talent of a Fricsay in handling Mozart's operas seria, the classical music world would be far richer indeed!
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