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on 22 March 2013
Excellent, timeless production of this Mozart favorite - DG always delivers quality! I would highly recommend this recording for the collection of any serious enthusiast.
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on 19 July 2011
Nicely ballanced sound. Singers stand out but the can be orchestra heard with out it being too intrusive during the singing.

An old but nevetheless enjoyable recording
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on 28 September 2009
If you are one of those who must have the latest/ newest performance, forget about this. The recording dates from 1973.

However if you do not care about fancy, today top-of-the bill , singers, listen to this performance. You will be surprised by the singing of 35-odd years ago, and about the quality of the (DGG) recording.
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on 18 February 2016
exactly as described, very good.
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on 21 October 2014
Weber - right on the money - said that K 384 was something Mozart could only write once in life: when he was young and triumphal. "And Alexander was sad for there were no more worlds left to conquer." To my mind, it captures the optimism of the newly liberated composer to whom Vienna was the land of milk and honey and Count Arco's prophecy - that its burghers would eventually tire of him - was little more than ire. The Abduction was Mozart's most popular opera during his lifetime. Its freshness continues to amaze one. My favourites are "Singt dem großen Bassa Lieder" and "Nie werd' ich deine Huld verkennen."

Lawrence of Arabia tabled Seven Pillars of Wisdom; here, DG ran with two less: the Staatskapelle Dresden (masters of this domain); Arleen Auger as Constanze (what a Martern aller Arten!); Reri Grist as Blonde (definitive); Kurt Moll as Osmin (ditto - what a menace!) and the September 1973 recording is excellent. At the podium, Uncle Karl is less funereal than usual: it's not an entombment and for that we give thanks. As expected, the main drawback of this performance is Peter Schreier as Belmonte. Much like Die Jahreszeiten, this is a recording that Wunderlich would have made if he had not fallen into the abyss. Unless you get your cheapies from moggy-like ululations, the gritty German tenor is unbearable. Indeed, when I played "Konstanze! dich wiederzusehen!" a cat-fight started on the roof. More widely, the practice of using ring-ins for the dialogue is distasteful: either the powers of characterisation are there or they ain't.

If you transplanted Wunderlich from Jochum's set and zapped Uncle Karl with a cattle-prod, a definitive performance would ensue. In the interim, make do with this.
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on 8 July 2015
Great recording.
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