Mozart: Così fan tutte Teodor Currentzis & MusicAeterna

• Wolfgang Amadeus Mozart (1756 –1791):
• 1 Ouvertura 03:52
• 2 Atto Primo: La mia Dorabella capace non è (No. 1, Terzetto: Ferrando, Don Alfonso, Guglielmo) 01:53
• 3 Atto Primo: Fuor la spada (Recitativo: Guglielmo, Don Alfonso, Ferrando) 01:02
• 4 Atto Primo: È la fede delle femmine (No. 2, Terzetto: Ferrando, Don Alfonso, Guglielmo) 01:01
• 5 Atto Primo: Scioccherie di poeti! (Recitativo: Ferrando, Guglielmo, Don Alfonso) 01:19
• 6 Atto Primo: Una bella serenata (No. 3, Terzetto: Ferrando, Don Alfonso, Guglielmo) 02:15
• 7 Atto Primo: Ah guarda, sorella (No. 4, Duetto: Fiordiligi, Dorabella) 05:09
• 8 Atto Primo: Mi par che stamattina (Recitativo: Fiordiligi, Dorabella, Don Alfonso) 01:15
• 9 Atto Primo: Vorrei dir, e cor non ho (No. 5, Aria: Don Alfonso) 00:44
• 10 Atto Primo: Stelle! Per carità, signor Alfonso (Recitativo: Fiordiligi, Don Alfonso, Dorabella) 01:05
• 11 Atto Primo: Sento oddio, che questo piede (No. 6, Quintetto: Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso) 04:09
• 12 Atto Primo: Non piangere, idol mio (Recitativo: Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella) 00:55
• 13 Atto Primo: Al fato dàn legge (No. 7, Duettino: Ferrando, Guglielmo) 01:24
• 14 Atto Primo: La commedia è graziosa (Recitativo: Don Alfonso, Ferrando, Fiordiligi, Dorabella) 00:43
• 15 Atto Primo: Bella vita militar! (No. 8, Coro) 01:25
• 16 Atto Primo: Non v'è più tempo, amici (Recitativo: Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo) 00:31
• 17 Atto Primo: Di scrivermi ogni giorno (Recitativo: Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso) 02:23
• 18 Atto Primo: Bella vita militar! (No. 9, Coro) 00:45
• 19 Atto Primo: Dove son? Son partiti (Recitativo: Dorabella, Don Alfonso, Fiordiligi) 00:56
• 20 Atto Primo: Soave sia il vento (No. 10, Terzettino: Fiordiligi, Dorabella, Don Alfonso) 03:26
• 21 Atto Primo: Non son cattivo comico! - Nel mare solca (Recitativo: Don Alfonso) 01:00
• 22 Atto Primo: Che vita maledetta ... Madame, ecco la vostra colazione (Recitativo: Despina, Fiordiligi, Dorabella) 01:08
• 23 Atto Primo: Ah scostati (Recitativo: Dorabella) 01:05
• 24 Atto Primo: Smanie implacabili che m'agitate (No. 11, Aria: Dorabella) 01:42
• 25 Atto Primo: Signora Dorabella, signora Fiordiligi (Recitativo: Despina, Dorabella, Fiordiligi) 02:11
• 26 Atto Primo: In uomini! In soldati (No. 12, Aria: Despina) 02:34
• 27 Atto Primo: Che silenzio! Che aspetto di tristezza (Recitativo: Don Alfonso, Despina) 03:14
• 28 Atto Primo: Alla bella Despinetta (No. 13, Sestetto: Fiordiligi, Dorabella, Despina, Ferrando, Don Alfonso, Guglielmo) 04:17
• 29 Atto Primo: Che sussurro! Che strepito (Recitativo: Don Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo, Despina) 03:24
• 30 Atto Primo: Come scoglio immoto resta (No. 14, Aria: Fiordiligi) 03:58
• 31 Atto Primo: Ah non partite! (Recitativo: Ferrando, Guglielmo, Don Alfonso, Dorabella, Fiordiligi) 01:03
• 32 Atto Primo: Non siate ritrosi (No. 15, Aria: Guglielmo) 01:44
• 33 Atto Primo: E voi ridete? (No. 16, Terzetto: Ferrando, Guglielmo, Don Alfonso) 00:46
• 34 Atto Primo: Si può sapere un poco (Recitativo: Don Alfonso, Guglielmo, Ferrando) 01:03
• 35 Atto Primo: Un'aura amorosa (No. 17, Aria: Ferrando) 05:03
• 36 Atto Primo: Oh la saria da ridere (Recitativo: Don Alfonso, Despina) 02:21
• 37 Atto Primo: Ah che tutta in un momento (No. 18, Finale: Fiordiligi, Dorabella) 02:53
• 38 Atto Primo: Si mora sì, si mora (Ferrando, Don Alfonso, Guglielmo, Fiordiligi, Dorabella) 01:33
• 39 Atto Primo: Giacché a morir vicini (Don Alfonso, Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo) 03:19
• 40 Atto Primo: Eccovi il medico (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) 02:46
• 41 Atto Primo: Dove son! Che loco è questo! (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) 03:57
• 42 Atto Primo: Dammi un bacio, o mio tesoro (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) 03:04
• 43 Atto Secondo: Andate là, che siete (Recitativo: Despina, Fiordiligi, Dorabella) 03:16
• 44 Atto Secondo: Una donna a quindici anni (No. 19, Aria: Despina) 03:43
• 45 Atto Secondo: Sorella, cosa dici? (Recitativo: Fiordiligi, Dorabella) 01:26
• 46 Atto Secondo: Prenderò quel brunettino (No. 20, Duetto: Fiordiligi, Dorabella) 03:01
• 47 Atto Secondo: Ah correte al giardino (Recitativo: Don Alfonso, Dorabella) 00:21
• 48 Atto Secondo: Secondate, aurette amiche (No. 21, Duetto con Coro: Ferrando, Guglielmo) 03:29
• 49 Atto Secondo: II tutto deponete (Recitativo: Don Alfonso, Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo) 00:46
• 50 Atto Secondo: La mano a me date (No. 22: Despina, Ferrando, Guglielmo, Don Alfonso) 02:15
• 51 Atto Secondo: Oh che bella giornata! (Recitativo: Fiordiligi, Ferrando, Dorabella, Guglielmo) 02:38
• 52 Atto Secondo: Il core vi dono (No. 23, Duetto: Dorabella, Guglielmo) 05:21
• 53 Atto Secondo: Barbara! Perché fuggi? (Recitativo: Ferrando, Fiordiligi) 01:36
• 54 Atto Secondo: Ei parte... senti...! Ah no... partir si lasci (Recitativo: Fiordiligi) 01:30
• 55 Atto Secondo: Per pietà, ben mio, perdona (No. 25, Rondò: Fiordiligi) 07:47
• 56 Atto Secondo: Amico, abbiamo vinto! (Recitativo: Ferrando, Guglielmo) 03:59
• 57 Atto Secondo: Donne mie, la fate a tanti (No. 26, Aria: Guglielmo) 03:01
• 58 Atto Secondo: In qual fiero contrasto (Recitativo: Ferrando) 01:25
• 59 Atto Secondo: Tradito, schernito (No. 27, Cavatina: Ferrando) 02:02
• 60 Atto Secondo: Bravo: questa è costanza (Recitativo: Don Alfonso, Ferrando, Guglielmo) 01:28
• 61 Atto Secondo: Ora vedo che siete (Recitativo: Despina, Dorabella, Fiordiligi) 02:25
• 62 Atto Secondo: È amore un ladroncello (No. 28, Aria: Dorabella) 03:07
• 63 Atto Secondo: Come tutto congiura (Recitativo: Fiordiligi, Guglielmo, Despina, Don Alfonso) 02:45
• 64 Atto Secondo: Fra gli amplessi in pochi istanti (No. 29, Duetto: Fiordiligi, Ferrando) 05:59
• 65 Atto Secondo: Ah poveretto me! Cosa ho veduto! (Recitativo: Guglielmo, Don Alfonso, Ferrando) 02:06
• 66 Atto Secondo: Tutti accusan le donne (No. 30: Don Alfonso, Ferrando, Guglielmo) 01:00
• 67 Atto Secondo: Vittoria, padroncini! (Recitativo: Despina, Ferrando, Don Alfonso, Guglielmo) 00:33
• 68 Atto Secondo: Fate presto, o cari amici (No. 31, Finale: Despina, Coro, Don Alfonso) 01:19
• 69 Atto Secondo: Benedetti i doppi coniugi (Coro, Fiordiligi, Dorabella, Ferrando, Guglielmo) 03:49
• 70 Atto Secondo: E nel tuo, nel mio bicchiero (Fiordiligi, Ferrando, Dorabella, Guglielmo) 02:05
• 71 Atto Secondo: Miei signori, tutto è fatto (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo, Despina) 01:28
• 72 Atto Secondo: Bella vita militar! (Coro, Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Don Alfonso) 00:30
• 73 Atto Secondo: Misericordia! Numi del cielo! (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo, Despina) 01:07
• 74 Atto Secondo: Sani e salvi agli amplessi (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina) 02:57
• 75 Atto Secondo: Giusto ciel! Voi qui scriveste (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina) 04:46
• 76 Atto Secondo: Fortunato l'uom che prende (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina) 01:37
• Total Runtime 02:56:54

Info for Mozart: Così fan tutte

Sony Classical continues its major Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”.

The recordings represent an unprecedented commitment by the artists in terms of preparation, session and post-production. They embody a radical new approach to orchestral virtuosity as well as to score fidelity, vocal style and performance practice. The second release in the series, Cosi fan tutte, will be released in November 2014.

In 2011, when invited to the post of Artistic Director at Perm’s opera house, Currentzis negotiated unheard-of conditions: unlimited rehearsal time; the freedom to schedule performances depending on the quality reached in rehearsals; the necessary resources to explore with his musicians anything deemed necessary for a fuller understanding of the repertoire, from Baroque dance steps to 20th century poetry and avant-garde cinema.

The orchestra and choir emphatically embrace a non-establishment attitude, constantly questioning themselves and striving for perfection. As important as their musical prowess (many members are laureates of international competitions) is their willingness to undergo exceptional rigours to reach the shared artistic goals. It is an accepted part of these musicians’ daily routine to spend a whole night of work and discussion about its progress at the opera house if necessary – or to devote a full rehearsal to shaping one single chord to perfection.

“The radicality of this recording is its precision. It is through strictest discipline that you unlock the perfume, bring the composer’s text into real life, create all these colours that are impossible on the stage. This is why we spent such a significant amount of time in the studio – because we were pushing to reach our limits, to jump above our limit and reach a new understanding of this music. That is the privilege of a ‘no-compromise’ studio recording. There are so many recordings which convey the general spirit of Mozart’s music. The only point in making a new one is to give the audience a chance to hear and learn about all the magic which this score holds. I made this recording because I wanted to show what can be achieved if you avoid the factory approach of the classical music mainstream. My credo is that every performance you give has to be like a pregnancy. You have to dream and you have to wait until the time comes when you see the miracle happening. If you’re not like that in music, you lose the central idea of music. Music is not a profession and it’s not about reproduction. It’s a mission”.

The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.

“there's an undeniably a strong sense of personality to everything the conductor does...Most notable of all is the interventionist nature of the continuo, with the fortepiano, in particular, on the hyperactive side - though arguably always for genuinely expressive reasons. At its best the music simply pulses with life, without a hint of routine.” (BBC Music Magazine)

“Currentzis seems intent on making waves rather than music, with often bizarre tempi and obscure point-making. Yet his cast is superb, especially the young men Kenneth Tarver and Christopher Maltman, with cracking playing from his Perm musicians.” (Classical Music)

Simone Kermes (Fiordiligi)
Malena Ernman (Dorabella)
Anna Kasyan (Despina)
Kenneth Tarver (Ferrando)
Christopher Maltman (Guglielmo)
Konstantin Wolff (Don Alfonso)
MusicAeterna
Teodor Currentzis, conductor

Please Note: we do not offer the 192 kHz version of this album, because there is no audible difference to the 96 kHz version!

musicAeterna Orchestra
one of the most in demand Russian orchestras in the fi eld of period performance, also working successfully with 20th century music. Founded in Novosibirsk in 2004 by Teodor Currentzis.

The orchestra has performed with Currentzis in Vienna, Amsterdam, London, Baden-Baden, Moscow, Saint Petersburg and Perm. In February 2014 the orchestra, together with musicAeterna Chorus, went on a tour of major stages in Berlin, Paris, Lisbon and Athens.

The orchestra has signed an exclusive contract with Sony Classical to record Mozart's Le nozze di Figaro (released in February 2014, received the German Record Critics' Award 'Preis der deutschen Schallplattenkritik') and Cosi fan tutte (there are also plans to record Don Giovanni), Stravinsky's Les Noces and Le Sacre du printemps, and a disc of music by Jean-Philippe Rameau. Tchaikovsky's Concerto for Violin and Orchestrais to be released soon. Between 2008 and 2010 the orchestra released three discs on the Alpha label: Purcell’s Dido and Aeneas, Dmitri Shostakovich’s Symphony No. 14 and Mozart's Requiem.

Teodor Currentzis
Artistic Director of Choir MusicAeterna — Teodor Currentzis. Principal choirmaster — Vitaly Polonsky. The fi rst presentation of the chorus in its current complement took place in Perm in 2011. The repertoire of the chorus, essentially performed in the authentic manner, embraces different styles and historical periods.

The concert programmes of the ensemble include the works of the foreign baroque composers, the masterpieces of the Russian choral music of the 18th — 20th centuries and contemporary pieces. In February 2014 the chorus, together with the orchestra musicAeterna, had a triumphant series of performances in Berlin, Paris, Lisbon and Athens with a concert version of Purcell's Dido and Aeneas and Handel's psalm Dixit Dominus.

Discography: Mozart’s Le nozze di Figaro (released in February 2014) and Cosi fan tutte, Stravinsky’s Les noces and a disc of music by Jean-Philippe Rameau — all recorded by Sony Classical. In the autumn of 2013 the chorus took part in the video recording of Purcell's opera The Indian Queen, directed by Peter Sellars and conducted by Teodor Currentzis. The DVD will also be released by Sony.

Booklet for Mozart: Così fan tutte