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Mozart: La clemenza di Tito Import


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Product details

  • Performer: Peter Schreier, Julia Varady, Edith Mathis, Teresa Berganza, Theo Adam, et al.
  • Conductor: Karl Böhm, Staatskapelle Dresden
  • Composer: Wolfgang Amadeus Mozart
  • Audio CD (9 April 1999)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Import
  • Label: Deutsche Grammophon
  • ASIN: B000026BKR
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 341,077 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         


Disc 1:

Samples
Song TitleArtist Time Price
Listen  1. La clemenza di Tito, K.621 - OvertureStaatskapelle Dresden 4:49£0.79  Buy MP3 
Listen  2. La clemenza di Tito, K.621 / Act 1 - "Ma che? sempre l'istesso"Teresa Berganza 3:22£0.79  Buy MP3 
Listen  3. La clemenza di Tito, K.621 / Act 1 - "Come ti piace imponi"Julia Varady 3:08£0.79  Buy MP3 
Listen  4. La clemenza di Tito, K.621 / Act 1 - "Amico, il passo affretta"Julia Varady 1:48£0.39  Buy MP3 
Listen  5. La clemenza di Tito, K.621 / Act 1 - "Deh se piacer mi vuoi" - "Amico, ecco il momento"Julia Varady 6:34£0.79  Buy MP3 
Listen  6. La clemenza di Tito, K.621 / Act 1 - "Deh prendi un dolce amplesso"Teresa Berganza 1:02£0.39  Buy MP3 
Listen  7. La clemenza di Tito, K.621 / Act 1 - MarciaStaatskapelle Dresden 1:20£0.39  Buy MP3 
Listen  8. La clemenza di Tito, K.621 / Act 1 - "Serbate, oh Dei custodi"Rundfunkchor Leipzig 1:48£0.39  Buy MP3 
Listen  9. La clemenza di Tito, K.621 / Act 1 - "Te della patria il Padre" - "Basta, basta, oh miei fidi"Theo Adam 2:04£0.79  Buy MP3 
Listen10. La clemenza di Tito, K.621 / Act 1 - MarciaStaatskapelle Dresden 1:20£0.39  Buy MP3 
Listen11. La clemenza di Tito, K.621 / Act 1 - "Adesso, oh Sesto, parla per me"Marga Schiml 2:26£0.79  Buy MP3 
Listen12. La clemenza di Tito, K.621 / Act 1 - "Del più sublime soglio"Peter Schreier 3:57£0.79  Buy MP3 
Listen13. La clemenza di Tito, K.621 / Act 1 - "Non ci pentiam"Marga Schiml 1:35£0.39  Buy MP3 
Listen14. La clemenza di Tito, K.621 / Act 1 - "Ah perdona al primo affetto"Marga Schiml 3:18£0.79  Buy MP3 
Listen15. La clemenza di Tito, K.621 / Act 1 - Che mi rechi in quel foglio?Peter Schreier 2:07£0.79  Buy MP3 
Listen16. La clemenza di Tito, K.621 / Act 1 - "Ah, se fosse intorno al trono"Peter Schreier 2:15£0.79  Buy MP3 
Listen17. La clemenza di Tito, K.621 / Act 1 - "Felice me!" - "Ancora mi schernisce?"Edith Mathis 2:55£0.79  Buy MP3 
Listen18. La clemenza di Tito, K.621 / Act 1 - "Parto, ma tu ben mio"Teresa Berganza 6:43£0.79  Buy MP3 
Listen19. La clemenza di Tito, K.621 / Act 1 - "Vedrai, Tito, vedrai"Julia Varady0:46£0.39  Buy MP3 
Listen20. La clemenza di Tito, K.621 / Act 1 - "Vengo... aspettate... Sesto!..."Julia Varady 2:35£0.79  Buy MP3 
Listen21. La clemenza di Tito, K.621 / Act 1 - "Oh Dei, che smania è questa"Teresa Berganza 3:40£0.79  Buy MP3 
Listen22. La clemenza di Tito, K.621 / Act 1 - "Deh conservate, oh Dei" - "Sesto!"Teresa Berganza 7:18£0.79  Buy MP3 


Disc 2:

Samples
Song TitleArtist Time Price
Listen  1. La clemenza di Tito, K.621 / Act 2 - "Sesto, come tu credi"Teresa Berganza 1:56£0.39  Buy MP3 
Listen  2. La clemenza di Tito, K.621 / Act 2 - "Torna di Tito a lato"Marga Schiml 2:50£0.79  Buy MP3 
Listen  3. La clemenza di Tito, K.621 / Act 2 - "Partir deggio, o restar?" - "Sesto! - Che chiedi?"Teresa Berganza 1:34£0.39  Buy MP3 
Listen  4. La clemenza di Tito, K.621 / Act 2 - "Se al volto mai ti senti"Teresa Berganza 5:30£0.79  Buy MP3 
Listen  5. La clemenza di Tito, K.621 / Act 2 - "Ah grazie si rendano"Peter Schreier 4:19£0.79  Buy MP3 
Listen  6. La clemenza di Tito, K.621 / Act 2 - + tutto colà d'intornoTheo Adam 1:37£0.39  Buy MP3 
Listen  7. La clemenza di Tito, K.621 / Act 2 - "Tardi s'avvede"Theo Adam 1:28£0.39  Buy MP3 
Listen  8. La clemenza di Tito, K.621 / Act 2 - Annio, che rechi?Peter Schreier 1:03£0.39  Buy MP3 
Listen  9. La clemenza di Tito, K.621 / Act 2 - "Tu fosti tradito"Marga Schiml 3:53£0.79  Buy MP3 
Listen10. La clemenza di Tito, K.621 / Act 2 - "Che orror! che tradimento!" - "Ingrato!"Peter Schreier 2:33£0.79  Buy MP3 
Listen11. La clemenza di Tito, K.621 / Act 2 - "Quello di Tito è il volto!"Peter Schreier 4:19£0.79  Buy MP3 
Listen12. La clemenza di Tito, K.621 / Act 2 - E pur mi fa pietàPeter Schreier 2:49£0.79  Buy MP3 
Listen13. La clemenza di Tito, K.621 / Act 2 - "Deh per questo istante solo"Teresa Berganza 7:18£0.79  Buy MP3 
Listen14. La clemenza di Tito, K.621 / Act 2 - "Dove s'intese mai più contumace infedeltà?" - "Publio. - Cesare."Peter Schreier 1:48£0.39  Buy MP3 
Listen15. La clemenza di Tito, K.621 / Act 2 - "Se all'impero"Peter Schreier 5:12£0.79  Buy MP3 
Listen16. La clemenza di Tito, K.621 / Act 2 - Publio, ascolta!Julia Varady 1:49£0.39  Buy MP3 
Listen17. La clemenza di Tito, K.621 / Act 2 - "S'altro che lagrime"Edith Mathis 2:39£0.79  Buy MP3 
Listen18. La clemenza di Tito, K.621 / Act 2 - "Ecco il punto, oh Vitellia"Julia Varady 2:14£0.79  Buy MP3 
Listen19. La clemenza di Tito, K.621 / Act 2 - "Non più di fiori"Julia Varady 8:21£0.79  Buy MP3 
Listen20. La clemenza di Tito, K.621 / Act 2 - "Che del ciel, che degli Dei"Rundfunkchor Leipzig 2:40£0.79  Buy MP3 
Listen21. La clemenza di Tito, K.621 / Act 2 - Pria che principioPeter Schreier 1:28£0.39  Buy MP3 
Listen22. La clemenza di Tito, K.621 / Act 2 - "Ma che giorno è mai questo?"Staatskapelle Dresden 1:52£0.39  Buy MP3 
Listen23. La clemenza di Tito, K.621 / Act 2 - "Tu, è ver, m'assolvi, Augusto"Peter Schreier 3:47£0.79  Buy MP3 

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Bernard Michael O'Hanlon on 19 Jun 2013
Format: Audio CD
Heresy is afoot in Melbourne. Yes, the Australian Kna Association - executive and rank & file alike - is infected with K 621-itis. What is its main symptom? Strident and hyperbolic claims that La Clemenza di Tito, more on account of its music than dramaturgy, is the second greatest opera written by Mozart (with Don Giovanni or Figaro being ranked above it according to taste). Others - who know their stuff - have greeted this news with dismay, citing silliness on the part of the AKA. Perhaps it is time the Australian Kna Association moved to a new location for its infamous lunchtime gatherings; one could argue that Hanoi Jane's Maximum Stress Relief Centre is not conducive to reason as a venue.

Whatever one thinks of the music, Sir Colin Davis' performance of La Clemenza di Tito from 1976 is one of the ten greatest recordings ever made in Mozart discography - period. Indeed, it has acted as Round-Up on the (worthy) opposition ever since. I was exceedingly glad when Uncle Karl's 1979 performance of K 621 came into orbit. The Silver Medal is up for grabs.

If one of the hallmarks of Davis' performance is the imperious thrust of the music-making, Uncle Karl is more genial but not to the point of being torpid. "Del più sublime soglio" is the only instance where I thought to myself: geez, Uncle Karl is slow - and even then, it's beautifully sustained by Schreier. Speaking of which, I am no great fan of the German tenor. This is certainly one of his strongest performances. Could one suggest that the phonetics of Italian are better suited to his timbre than German? The grit in the voice is far less evident than usual.

I like having a soprano in the role of Vitellia.
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1 of 1 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 21 July 2013
Format: Audio CD
As the opening chords of the overture are so reminiscent of the start of "Così", that might raise the question of whether, as many now believe, this is as great a work. As the reassessment and popularity of "La clemenza di Tito" continues, it is only natural to look again at previous recordings. Nothing in my recent survey of several shakes my loyalty primarily to the stupendous, star-spangled studio recording by Colin Davis in 1976 with Janet Baker as a fire-eating Vitellia in the lead role; just behind that comes the live Covent Garden performance from the same year conducted by John Pritchard also starring Baker.

However, depending on your taste in voices, a couple of others can legitimately claim our attention: the Decca studio recording by Kertesz in 1967, which won plaudits, acclaim and awards, especially in France, and the 1978 studio recording from DG conducted by Karl Böhm. Let me declare my prejudices straight away by saying that I have never warmed to Peter Schreier's nasal, constricted tenor and this rules out that set for me, for all that I really esteem and enjoy Julia Varady's splendidly vocalised Vitellia, Edith Mathis's sweet, bell-voiced Servilia and Teresa Berganza repeating her estimable Sesto. Furthermore, Böhm's conducting is considerably more driven and propulsive than that of Kertesz and even the potentially tedious recitatives have more bounce and life - except in Tito's arias, which are taken at lugubrious speeds. It must also be said that Berganza is not in such fresh voice as she was over ten years earlier; the tone is a little worn at times, despite her patrician singing.
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By Boris Tolmachev on 22 Aug 2014
Format: Audio CD Verified Purchase
Thank you very much!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 3 reviews
8 of 8 people found the following review helpful
Karl Bohm Once Again Shows His Interpretative Mind, Hand, and Heart to be Correct! 22 Mar 2009
By Gregory E. Foster - Published on Amazon.com
Format: Audio CD Verified Purchase
If you can only have one recording of Mozart's La Clemenza di Tito, it should be this wonderful recording from 1979 with the illustrious Karl Bohm leading the Staatskapelle Dresden forces with an all-star cast.

Bohm was the leading Austrian Mozart conductor of the postwar period, and his recordings (nearly all of them) of these great operatic masterpieces sit in the position of being the standard(s) by which all subsequent or other recordings are measured.

In this marvelous effort we have Peter Schreier in the title role of Tito, giving a commanding performance, equal to, or outshining every other effort on disc. Julia Varady, somewhat steely toned, excels as Vitellia. She is notable, and her presence here plays against all the other's voices to great effect. Edith Mathis gives a lovely interpretation, with luscious and richly-sweet tones, as Servilia. Theo Adam, as always, turns in a marvelous performance as Publio. I have never heard him do anything less than a wonderful, and always well-turned, interpretation of anything he tackles. Teresa Berganza? What can I say about this most wonderful singer, certainly the reigning mistress of anything she ever surveyed to do. How sadly missed she is on the stages of the operatic world. Her performance, beautifully executed, and sensuously toned, outshines all others in the role of Sesto. Of all the casts recorded in this "second tier" Mozart opera, Bohm so far outshines all others assembled, that this recording alone should do much to raise this beautiful work to "first tier". And, of course, with him at the helm, leading the Staatskapelle Dresden, you know, already, before even listening, you are going to be hearing some of the most sumptuously played and executed music, produced by top-rank musicians, fulfilling Maestro Bohm's interpretive genius. This is some of Deutsche Gammophon's finest sound from their late stereo period, shining in it's clarity, and lucidity. The tone, also, is immediate and clearly focused.

Sadly, in Mozart's "Italian Opera Catalogue", this work must vie for attention with Le nozze di Figaro, Cosi fan Tutti, and Don Giovanni, so it always seems to take second rank, but under Bohm, these soloists, and the Staatskapelle Dresden, it soulds like Great Mozart, and truly does rise to top tier status. This is a great recording, and belongs (firstly) in your collection for a representation of La Clemenza di Tito. Gardiner's recording is spliced from many performances, and is spotty and patchy (although very satisfying, of course, because it IS great conducting, and capable first-class singing), and the Davis recording, of course, is a highly-ranking rendition of this work (becoming dated in its sound however), and I would certainly want NOT to be without it, but the Bohm more closely hits the mark, and is the one that other recordings must bow to.

*--This recording, sadly, has been removed from the catalogue, as so many other great works have of late. I Strongly Urge you to seek out and obtain a copy of this most wonderful recording before those copies still available are gone. I have a strong feeling with things the way they are, of late, in the world of classical and opera recordings, that most of these recordings will not be re-released again, and will, sadly, be lost to us.
1 of 1 people found the following review helpful
Uncle Karl in a Toga 19 Jun 2013
By Bernard Michael O'Hanlon - Published on Amazon.com
Format: Audio CD
Heresy is afoot in Melbourne. Yes, the Australian Kna Association - executive and rank & file alike - is infected with K 621-itis. What is its main symptom? Strident and hyperbolic claims that La Clemenza di Tito, more on account of its music than dramaturgy, is the second greatest opera written by Mozart (with Don Giovanni or Figaro being ranked above it according to taste). Others - who know their stuff - have greeted this news with dismay, citing silliness on the part of the AKA. Perhaps it is time the Australian Kna Association moved to a new location for its infamous lunchtime gatherings; one could argue that Hanoi Jane's Maximum Stress Relief Centre is not conducive to reason as a venue.

Whatever one thinks of the music, Sir Colin Davis' performance of La Clemenza di Tito from 1976 is one of the ten greatest recordings ever made in Mozart discography - period. Indeed, it has acted as Round-Up on the (worthy) opposition ever since. I was exceedingly glad when Uncle Karl's 1979 performance of K 621 came into orbit. The Silver Medal is up for grabs.

If one of the hallmarks of Davis' performance is the imperious thrust of the music-making, Uncle Karl is more genial but not to the point of being torpid. "Del più sublime soglio" is the only instance where I thought to myself: geez, Uncle Karl is slow - and even then, it's beautifully sustained by Schreier. Speaking of which, I am no great fan of the German tenor. This is certainly one of his strongest performances. Could one suggest that the phonetics of Italian are better suited to his timbre than German? The grit in the voice is far less evident than usual.

I like having a soprano in the role of Vitellia. Even if she falls short of Dame Janet Baker's stupendous characterisation, Julia Varady sings ever so lustrously. Her "Non più di fiori" is a joy.

Theo Adam warrants deification. Who else can sing two notes at the same time? His wobble is so accentuated, one could almost park a cement-mixer therein. Will we ever understand why he features in so many of Bohm's recordings? Man, he must have had some dirt on Uncle Karl, like some photos from the All Gods are Dead Pool-Party. This is arguably Big Theo's worst recording - and that is saying something. He must have been aware of Tugomir Franc's woeful rendition of Publio in the Kertesz performance; come this endeavour, it was time to reassert the natural order of things. Listen to him in Che Mi Rechi in Quel Foglio: what does he have in his mouth? Evocative of Florence Foster Jenkins as it is, one can only admire his artistry in Tardi S'Avvede: Opera Seria becomes Opera Buffo. He also does his best to derail the great ensemble of "Quello di Tito è il volto!" Bravo Big Theo!

The forty one year old Edith Mathis sings her guts out as Sevilia. How lambent she is in "S'altro che lagrime" (and in passing, its opening bars are akin to Ave Verum Corpus). Berganza adds to the allure of the set. Schmidl is serviceable as Annio and no more.

The Dresden Staatskapelle plays with immense tonal allure. What an orchestra! What strings! Indeed, the Imperial March before the Second Act Finale is a lesson in majesty.

Overall, I enjoyed this traversal of La Clemenza di Tito. It is thoroughly musical and brings the cardboard-ish characters to life. Even Uncle Theo is fascinating in his own way. The DG analogue recording is commendable with one major exception: the chorus is recessed in the Finale of the Second Act and catastrophically so. Likewise, the DG engineers fail to capture the trombones in the final bars which Davis nukes.

Overall, this could warrant the Silver Medal. But will no-one ever displace Sir Colin from his perch?
1 of 1 people found the following review helpful
Neither Böhm nor Kertesz is preferable to Davis 21 July 2013
By Ralph Moore - Published on Amazon.com
Format: Audio CD
As the opening chords of the overture are so reminiscent of the start of "Così", that might raise the question of whether, as many now believe, this is as great a work. As the reassessment and popularity of "La clemenza di Tito" continues, it is only natural to look again at previous recordings. Nothing in my recent survey of several shakes my loyalty primarily to the stupendous, star-spangled studio recording by Colin Davis in 1976 with Janet Baker as a fire-eating Vitellia in the lead role; just behind that comes the live Covent Garden performance from the same year conducted by John Pritchard also starring Baker.

However, depending on your taste in voices, a couple of others can legitimately claim our attention: the Decca studio recording by Kertesz in 1967, which won plaudits, acclaim and awards, especially in France, and the 1978 studio recording from DG conducted by Karl Böhm. Let me declare my prejudices straight away by saying that I have never warmed to Peter Schreier's nasal, constricted tenor and this rules out that set for me, for all that I really esteem and enjoy Julia Varady's splendidly vocalised Vitellia, Edith Mathis's sweet, bell-voiced Servilia and Teresa Berganza repeating her estimable Sesto. Furthermore, Böhm's conducting is considerably more driven and propulsive than that of Kertesz and even the potentially tedious recitatives have more bounce and life - except in Tito's arias, which are taken at lugubrious speeds. It must also be said that Berganza is not in such fresh voice as she was over ten years earlier; the tone is a little worn at times, despite her patrician singing. Add to the mix a dull, plummy Annio with indistinct enunciation and an absurdly wobbly Publio from favourite son of Dresden Theo Adam and this recoding begins to look less attractive. Even the formidable Varady, for all her prowess in coloratura and venomous lower register, is less visceral than Janet Baker in full cry.

So is Kertesz preferable? The recitativo is more savagely cut in this recording but still rather dull and heavy-footed. Kertesz's conducting in general is, for a celebrated exponent of Mozart, well - rather genteel, although the ensembles go with more of a swing. I enjoy Maria Casula's slightly matronly Vitellia more than previous reviewers; she is rich-voiced with a fast vibrato, also copes well with the divisions and has a strong lower register but her "Vengo, aspettate" isn't a patch on Baker's, who gives us real highlight in that explosive aria. The Tito, too, is rather too much of a milksop but the role is neatly sung by Werner Krenn. Both Lucia Popp and Brigitte Fassbaender are occasionally in rather tremulous voice but both are lovely of tone; the latter is especially ardent in "Tu fosti tradito". The younger Berganza is velvety but a tad anonymous, and as Sesto has more than anyone to sing in this opera, strong characterisation is important. The playing from the VPO is of course lovely, especially the clarinet solo in "Parto". To complete a pair of duds as Publio, Tugomir France is lumpy and potato-mouthed, spoiling the Terzetto.

In short, for all their selective merits, especially Berganza and Varady, neither set really challenges the supremacy of Colin Davis's terrific Philips version.
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