275:, he acknowledged that these classic readings offered singing of a "subtlety and poise" that Alain Lombard's version could not equal. On the other hand, the new album's students at Don Alfonso's school for lovers came to their classroom with "youthful timbre and natural high spirits" that were nicely appropriate to their roles. As Fiordiligi, Kiri Te Kanawa was "magnificent", singing "in her best, creamiest voice". Aristocratic in "Come scoglio" and meditatively introspective in "Per pietà", she infused her role with tenderness and feminity. Her only fault was that she sometimes sang slightly flat. Frederica von Stade's Dorabella was "hardly less distinguished, with ample, broad phrasing, much well shaped detail in 'Smanie implacibili' and a graceful and spirited account of 'E' amore un ladroncello'." David Rendall, although sharing Te Kanawa's tendency to sing below the note, offered a Ferrando with the requisite honey for "Un' aura amorosa" and the requisite fire for "Tradito, schernito". Philippe Huttenlocher gave a "very polished performance" as Guglielmo, acting the part convincingly, using his words intelligently and bringing a laudable
345:
her to negotiate. Frederica von Stade sang just as beautifully, and it was not her fault if her timbre was too like Te Kanawa's to allow an ideal degree of contrast between them. Teresa
Stratas was an older Despina than some, and she took the comedy of her notary too far, but the gaiety of her approach was mostly enjoyable. The album's gentlemen were not quite as impressive as its ladies. As Ferrando, David Rendall had an "agreeable and malleable light tenor" but his technique sometimes left something to be desired. Philippe Huttenlocher was a solid but bland Guglielmo. Jules Bastin sang stylishly, but without either the force or the comfortable upper notes that an Alfonso needed. Recitatives were hampered by some pedestrian harpsichord continuo work. The orchestra, if not the most sumptuous of ensembles, played with warmth and accuracy and was blessed with some first-rate woodwinds. Alain Lombard's conducting was animated and accommodating, although it was marred by an unfortunate bias towards slow
288:
324:
303:
its most beautiful, warm and well-rounded". As
Dorabella, Frederica von Stade was Te Kanawa's perfect foil, her timbre complementing the soprano's so well that their voices blended in their duets in a way that could hardly be bettered. But Teresa Stratas, although a vivid Despina, sang with a tone that gave little pleasure. As Guglielmo, Philippe Huttenlocher was "inelegant". As Ferrando, David Rendall sang with a
943:
280:
of a doctor and a notary". The chief failings of the album, though, had nothing to do with any of its soloists. The orchestral playing suffered from "a lack of finesse", and the conducting from a dearth of dramatic conviction and "a general lack of sparkle". Sadie did not take exception to
Lombard's bias towards slow
302:
in July 1978. He was sad that it was one of those opera recordings in which excellence was betrayed by the mediocrity surrounding it. The excellence in question was provided by the two ladies from
Ferrara. Kiri Te Kanawa sang Fiordiligi with an acute sensitivity to her music's meaning, her voice "at
845:
In 1991, Erato issued the album on CD (catalogue number 2292-45683-2) in their "Libretto" series, packaged in a slipcase with a 264-page booklet providing an essay about the opera by André Tubeuf in
English, French and German and the libretto of the opera in English, French, German and Italian. The
344:
in August 1978. Like Sadie and Steane, he singled out Kiri Te Kanawa for especial praise, lauding her "abundant musicality and tone of creamy richness throughout most of the range". However, he thought that the cruel vocal assault course that Mozart had created for
Fiordiligi had been difficult for
279:
to "Non siate ritrosi". Jules Bastin's
Alfonso was sung forcefully but without much expressiveness, a charge that could not be levelled at Teresa Stratas. Her Despina was vivid and extremely musical, but it was "a pity that she felt the need to squeak and squawk so grotesquely in her impersonations
143:
284:, but he was disappointed that the album evinced no care over appoggiaturas. (A further instance of negligence was the clipping of bar 49 of "Come scoglio" by a clumsy editor.) Overall, the album was a good one, but not good enough to compete with the best of its many illustrious predecessors,
841:
In 1978, Erato released the album in Europe as a set of three LPs (catalogue number STU 71110) with literature providing notes, texts, translations and several photographs taken during the recording process. Also in 1978, RCA (under licence from Erato) released the album in the USA on both LP
29:
315:
was heavenly and others where it was laughable. "Instead of placing the partnership of Te Kanawa and von Stade in the place where it belongs, classic in freshness, beauty and character", the album's flaws had in Steane's view consigned it to the margins of the
246:
236:
The cover of the first CD version of the album, designed by Mister Brown, features a detail of J. Pillement's painting "Les jardins de
Benfica" (1785), a work in the collection of the Musée des Arts Décoratifs, Paris.
215:
The album omits some of Mozart's recitative, and also cuts two numbers in their entirety: No. 7, the duettino "Al fato dan legge" for
Ferrando and Guglielmo, and No. 24, the aria "Ah lo veggio" for Ferrando.
846:
booklet's only illustration was a photograph of
Lombard by Jacques Sarrat. In 2010, Erato reissued the album on CD in revised packaging in their "Erato Opera Collection" series.
225:
200:
61:
842:(catalogue number FRL3-2629) and cassette (catalogue number FRK3-2629), the LPs again being accompanied by notes, texts and translations.
349:. The album's audio quality, if "not particularly spacious", was perfectly acceptable. All things considered, though, Lombard's
963:
467:
15 (3:04) No. 9 Quintetto e coro: "Di scrivermi ogni giorno" (Fiordiligi, Dorabella, Guglielmo, Ferrando, Alfonso, Chorus)
142:
576:
6 (20:05) No. 18 Finale: "Ah, che tutta in un momento" (Fiordiligi, Dorabella, Ferrando, Alfonso, Guglielmo, Despina)
747:
16 (20:24) No. 31 Finale: "Fate presto, o cari amici" (Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Alfonso)
287:
933:
450:
11 (4:25) No. 6 Quintetto: "Sento, oh Dio, che questo piede" (Fiordiligi, Dorabella, Ferrando, Alfonso, Guglielmo)
973:
527:
24 (4:42) No. 13 Sestetto: "Alla bella Despinetta" (Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Alfonso)
311:
that sounded muffled. And worst of all, Alain Lombard seemed unable to distinguish between passages where a slow
622:
13 (0:48) Recitativo: "Cos'è tal mascherata?" (Alfonso, Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo)
370:
168:
780:
263:
176:
464:
14 (0:47) Recitativo: "Non v'è più tempo, amici" (Alfonso, Fiordiligi, Dorabella, Guglielmo, Ferrando)
968:
530:
25 (4:15) Recitativo: "Che sussurro!" (Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo, Despina)
768:
268:
188:
379:
551:
1 (1:04) Recitativo: "Ah non partite!" (Ferrando, Guglielmo, Alfonso, Dorabella, Fiordiligi)
389:
196:
633:
15 (2:47) Recitativo: "Oh che bella giornata!" (Fiordiligi, Ferrando, Dorabella, Guglielmo)
619:
12 (4:04) No. 21 Duetto con coro: "Secondate, aurette amiche" (Ferrando, Guglielmo, Chorus)
442:
10 (1:04) Recitativo: "Stelle! Per carità, signor Alfonso" (Fiordiligi, Dorabella, Alfonso)
28:
354:
335:
116:
453:
12 (0:32) Recitativo: "La commedia è graziosa" (Alfonso, Ferrando, Fiordiligi, Dorabella)
431:
8 (1:16) Recitativo: "Mi par che stamattina volentieri" (Fiordiligi, Dorabella, Alfonso)
774:
762:
625:
14 (2:41) No. 22 Quartetto: "La mano a me date" (Despina, Ferrando, Guglielmo, Alfonso)
323:
192:
180:
709:
11 (1:48) Recitativo: "Comme tutto congiura" (Fiordiligi, Guglielmo, Despina, Alfonso)
408:
2 (1:58) No.1 Terzetto: "La mia Dorabella capace non è" (Ferrando, Alfonso, Guglielmo)
957:
807:
786:
739:
15 (0:47) Recitativo: "Vittoria, padroncini!" (Despina, Ferrando, Alfonso, Guglielmo)
340:
258:
204:
184:
947:
792:
720:
12 (7:04) No. 29 Duetto: "Fra gli amplessi in pochi istante" (Fiordiligi, Ferrando)
295:
250:
172:
106:
636:
16 (5:11) No. 23 Duetto: "Il core vi dono, bell' idolo mio" (Dorabella, Guglielmo)
478:
17 (3:05) No. 10 Terzettino: "Soave sia il vento" (Fiordiligi, Dorabella, Alfonso)
291:
An unattributed portrait of Lorenzo da Ponte in the library of Columbia University
272:
519:
23 (2:25) Recitativo: "Che silenzio! Che aspetto di tristezza" (Alfonso, Despina)
414:
4 (1:17) No. 2 Terzetto: "E la fede delle femmine" (Ferrando, Alfonso, Guglielmo)
358:
72:
502:
Recitativo: "Madame, ecco la vostra colazione" (Despina, Fiordiligi, Dorabella)
690:
8 (1:27) Recitativo: "Bravo, questa è costanza" (Alfonso, Ferrando, Guglielmo)
65:
353:
could not really compete with alternative recordings conducted by Karl Böhm,
589:
7 (1:43) Recitativo: "Andate là, che siete" (Despina, Fiordiligi, Dorabella)
420:
6 (2:17) No. 3 Terzetto: "Una bella serenata" (Ferrando, Alfonso, Guglielmo)
603:
10 (3:13) No. 20 Duetto: "Prenderò quel brunettino" (Fiordiligi, Dorabella)
565:
4 (1:05) Recitativo: "Si può sapere un poco" (Alfonso, Guglielmo, Ferrando)
698:
9 (1:29) Recitativo: "Ora vedo che siete" (Despina, Dorabella, Fiordiligi)
508:
21 (1:37) Recitativo: "Signora Dorabella" (Despina, Dorabella, Fiordiligi)
417:
5 (1:25) Recitativo: "Scioccherie di poeti" (Ferrando, Alfonso, Guglielmo)
245:
562:
3 (0:54) No. 16 Terzetto: "E voi ridete?" (Ferrando, Guglielmo, Alfonso)
731:
14 (0:59) No. 30 Andante: "Tutti accusan le donne" (Alfonso, Guglielmo)
942:
728:
13 (2:05) Recitativo: "Oh poveretto me" (Alfonso, Guglielmo, Ferrando)
654:
1 (1:41) Recitativo: "Barbara! Perché fuggi?" (Ferrando, Fiordiligi)
428:
7 (5:02) No. 4 Duetto: "Ah, guarda, sorella" (Fiordiligi, Dorabella)
224:
The album was recorded using analogue technology in May 1977 in the
771:(mezzo-soprano), Dorabella, a lady of Ferrara, sister of Fiordiligi
411:
3 (1:09) Recitativo: "Fuor la spada" (Ferrando, Alfonso, Guglielmo)
717:
Recitativo: "L'abito di Ferrando" (Fiordiligi, Despina, Guglielmo)
611:
11 (0:22) Recitativo: "Ah, correte al giardino" (Alfonso, Despina)
600:
9 (1:43) Recitativo: "Sorella, cosa dici?" (Fiordiligi, Dorabella)
475:
16 (1:10) Recitativo: "Dove son?" (Fiordiligi, Dorabella, Alfonso)
322:
286:
244:
39:
388:, drama giocoso in due atti, K. 588 (Vienna, 1790), libretto by
783:(baritone), Guglielmo, an army officer, in love with Fiordiligi
533:
26 (4:25) No. 14 Aria: "Come scoglio immoto resta" (Fiordiligi)
676:
5 (3:13) No. 26 Aria: "Donne mie, la fate e tanti" (Guglielmo)
765:(soprano), Fiordiligi, a lady of Ferrara, sister of Dorabella
267:
in May 1978. Comparing it with rival recordings conducted by
701:
10 (3:38) No. 28 Aria: "E' amore un ladroncello" (Dorabella)
777:(soprano), Despina, maidservant of Fiordiligi and Dorabella
592:
8 (3:01) No. 19 Aria: "Una donna a quindici anni" (Despina)
320:
discography. "You do not wear a diamond in a leaden ring."
789:(tenor), Ferrando, an army officer, in love with Dorabella
801:
Choeurs de l'Opéra du Rhin (chorus master: Gunter Wagner)
687:
7 (2:07) No. 27 Cavatina: "Tradito, schernito" (Ferrando)
684:
6 (1:23) Recitativo: "In qual fiero contrasto" (Ferrando)
439:
9 (0:41) No. 5 Aria: "Vorrei dir, e cor non ho" (Alfonso)
665:
3 (8:03) No. 25 Rondo: "Per pietà, ben mio" (Fiordiligi)
511:
22 (2:34) No. 12 Aria: "In uomini, in soldati" (Despina)
486:
18 (1:12) Recitativo: "Non son cattivo comico" (Alfonso)
673:
4 (2:54) Recitativo: "Amico, abbiamo vinto!" (Ferrando)
505:
20 (2:03) No. 11 Aria: "Smanie implacabili" (Dorabella)
931:
554:
2 (1:51) No. 15 Aria: "Non siate ritrosi" (Guglielmo)
494:
19 (2:26) Recitativo: "Che vita maledetta" (Despina)
461:
13 (1:35) No. 8 Coro: "Bella vita militar!" (Chorus)
568:
5 (5:05) No. 17 Aria: "Un' aura amorosa" (Ferrando)
129:
115:
105:
97:
81:
71:
57:
49:
38:
21:
898:, cond. Alain Lombard, Erato CD 2292-45683-2, 1991
662:2 (1:48) Recitativo: "Ei parte..." (Fiordiligi)
8:
795:(bass), Don Alfonso, an elderly philosopher
141:
27:
18:
938:
855:
16:1978 studio album by Alain Lombard
906:
904:
863:
861:
859:
798:Luciano Sgrizzi, harpsichord continuo
7:
890:
888:
886:
884:
882:
880:
878:
876:
226:Palais de la Musique et des Congrès
62:Palais de la musique et des congrès
14:
832:Monique Mathon, musical assistant
804:Strasbourg Philharmonic Orchestra
201:Strasbourg Philharmonic Orchestra
941:
167:is a 178-minute studio album of
823:Pierre Lavoix, balance engineer
1:
307:tone that lacked focus and a
338:reviewed the album on LP in
327:Vienna's Burgtheater, where
298:reviewed the album on LP in
261:reviewed the album on LP in
207:. It was released in 1978.
990:
870:, August 1978, pp. 132-133
829:Charles Schwarz, assistant
913:, May 1978, pp. 1929-1930
743:Scenes 15, 16, 17 and 18
156:
152:
140:
136:
125:
26:
826:Françoise Garcin, editor
820:Michel Garcin, producer
371:Wolfgang Amadeus Mozart
203:under the direction of
171:'s opera, performed by
169:Wolfgang Amadeus Mozart
964:1970s classical albums
386:La scuola degli amanti
332:
292:
254:
195:with the Choeurs de l'
147:Erato CD: 2292-45683-2
781:Philippe Huttenlocher
572:Scenes 14, 15 and 16
326:
290:
248:
177:Philippe Huttenlocher
547:Scene 11, continued
925:, July 1978, p. 167
769:Frederica von Stade
331:was first performed
269:Herbert von Karajan
189:Frederica von Stade
33:Erato LP: STU 71110
646:Act Two, continued
641:Track listing, CD3
543:Act One, continued
538:Track listing, CD2
395:1 (4:35) Ouvertura
365:Track listing, CD1
333:
293:
255:
249:Mozart painted by
241:Critical reception
257:The musicologist
160:
159:
981:
974:Opera recordings
946:
945:
937:
926:
920:
914:
908:
899:
892:
871:
865:
390:Lorenzo da Ponte
145:
93:
92:
88:
31:
19:
989:
988:
984:
983:
982:
980:
979:
978:
954:
953:
952:
940:
932:
930:
929:
921:
917:
909:
902:
894:Mozart, W. A.:
893:
874:
866:
857:
852:
839:
837:Release history
817:
759:
754:
643:
540:
367:
355:Erich Leinsdorf
336:George Jellinek
243:
234:
222:
213:
148:
90:
86:
85:
45:
34:
17:
12:
11:
5:
987:
985:
977:
976:
971:
966:
956:
955:
951:
950:
928:
927:
915:
900:
896:Così fan tutte
872:
854:
853:
851:
848:
838:
835:
834:
833:
830:
827:
824:
821:
816:
813:
812:
811:
805:
802:
799:
796:
790:
784:
778:
775:Teresa Stratas
772:
766:
763:Kiri Te Kanawa
758:
755:
753:
750:
749:
748:
741:
740:
733:
732:
729:
722:
721:
718:
711:
710:
703:
702:
699:
692:
691:
688:
685:
678:
677:
674:
667:
666:
663:
656:
655:
642:
639:
638:
637:
634:
627:
626:
623:
620:
613:
612:
605:
604:
601:
594:
593:
590:
578:
577:
570:
569:
566:
563:
556:
555:
552:
539:
536:
535:
534:
531:
528:
521:
520:
513:
512:
509:
506:
503:
496:
495:
488:
487:
480:
479:
476:
469:
468:
465:
462:
455:
454:
451:
444:
443:
440:
433:
432:
429:
422:
421:
418:
415:
412:
409:
397:
396:
380:Così fan tutte
366:
363:
351:Così fan tutte
329:Così fan tutte
318:Così fan tutte
242:
239:
233:
230:
228:, Strasbourg.
221:
218:
212:
209:
193:Teresa Stratas
181:Kiri Te Kanawa
164:Così fan tutte
158:
157:
154:
153:
150:
149:
146:
138:
137:
134:
133:
131:Così fan tutte
127:
126:
123:
122:
119:
113:
112:
109:
103:
102:
99:
95:
94:
83:
79:
78:
75:
69:
68:
59:
55:
54:
51:
47:
46:
43:
36:
35:
32:
24:
23:
22:Così fan tutte
15:
13:
10:
9:
6:
4:
3:
2:
986:
975:
972:
970:
967:
965:
962:
961:
959:
949:
944:
939:
935:
924:
919:
916:
912:
907:
905:
901:
897:
891:
889:
887:
885:
883:
881:
879:
877:
873:
869:
868:Stereo Review
864:
862:
860:
856:
849:
847:
843:
836:
831:
828:
825:
822:
819:
818:
814:
809:
808:Alain Lombard
806:
803:
800:
797:
794:
791:
788:
787:David Rendall
785:
782:
779:
776:
773:
770:
767:
764:
761:
760:
756:
751:
746:
745:
744:
738:
737:
736:
730:
727:
726:
725:
719:
716:
715:
714:
708:
707:
706:
700:
697:
696:
695:
689:
686:
683:
682:
681:
675:
672:
671:
670:
664:
661:
660:
659:
653:
652:
651:
648:
647:
640:
635:
632:
631:
630:
624:
621:
618:
617:
616:
610:
609:
608:
602:
599:
598:
597:
591:
588:
587:
586:
583:
582:
575:
574:
573:
567:
564:
561:
560:
559:
553:
550:
549:
548:
545:
544:
537:
532:
529:
526:
525:
524:
518:
517:
516:
510:
507:
504:
501:
500:
499:
493:
492:
491:
485:
484:
483:
477:
474:
473:
472:
466:
463:
460:
459:
458:
452:
449:
448:
447:
441:
438:
437:
436:
430:
427:
426:
425:
419:
416:
413:
410:
407:
406:
405:
402:
401:
394:
393:
392:
391:
387:
383:
382:
381:
375:
373:
372:
364:
362:
360:
356:
352:
348:
343:
342:
341:Stereo Review
337:
330:
325:
321:
319:
314:
310:
306:
301:
297:
289:
285:
283:
278:
274:
270:
266:
265:
260:
259:Stanley Sadie
252:
247:
240:
238:
231:
229:
227:
219:
217:
210:
208:
206:
205:Alain Lombard
202:
198:
197:Opéra du Rhin
194:
190:
186:
185:David Rendall
182:
178:
174:
170:
166:
165:
155:
151:
144:
139:
135:
132:
128:
124:
121:Michel Garcin
120:
118:
114:
110:
108:
104:
100:
96:
84:
80:
76:
74:
70:
67:
63:
60:
56:
52:
48:
44:Alain Lombard
41:
37:
30:
25:
20:
922:
918:
910:
895:
867:
844:
840:
793:Jules Bastin
742:
734:
723:
712:
704:
693:
679:
668:
657:
649:
645:
644:
628:
614:
606:
595:
584:
580:
579:
571:
557:
546:
542:
541:
522:
514:
497:
489:
481:
470:
456:
445:
434:
423:
403:
399:
398:
385:
378:
377:
376:
374:(1756-1791)
369:
368:
350:
346:
339:
334:
328:
317:
312:
308:
304:
299:
296:J. B. Steane
294:
281:
276:
262:
256:
253:c. 1782-1783
251:Joseph Lange
235:
223:
214:
173:Jules Bastin
163:
162:
161:
130:
40:Studio album
969:1978 albums
810:, conductor
359:Georg Solti
958:Categories
923:Gramophone
911:Gramophone
850:References
300:Gramophone
264:Gramophone
211:Background
66:Strasbourg
752:Personnel
735:Scene 14
724:Scene 13
713:Scene 12
705:Scene 11
694:Scene 10
558:Scene 12
523:Scene 11
515:Scene 10
273:Karl Böhm
232:Cover art
220:Recording
680:Scene 9
669:Scene 8
658:Scene 7
650:Scene 6
629:Scene 5
615:Scene 4
607:Scene 3
596:Scene 2
585:Scene 1
498:Scene 9
490:Scene 8
482:Scene 7
471:Scene 6
457:Scene 5
446:Scene 4
435:Scene 3
424:Scene 2
404:Scene 1
199:and the
117:Producer
98:Language
50:Released
42: by
757:Musical
581:Act Two
400:Act One
101:Italian
934:Portal
384:ossia
277:legato
82:Length
58:Studio
948:Opera
815:Other
347:tempi
313:tempo
309:forte
305:piano
282:tempi
111:Erato
107:Label
77:Opera
73:Genre
271:and
191:and
53:1978
357:or
87:178
960::
903:^
875:^
858:^
361:.
187:,
183:,
179:,
175:,
91:51
64:,
936::
89::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
