- Naxosdirect.com

The Leading Classical Music Label Direct To You

Read reviews, listen to the music, and purchase the

Customer Service Toll Free 866.489.4152

Flash 9 required. Click to download.

Narrow your search
with our Music Browser

Classical Music

        Ballet
        Chamber Music
        Choral
        Concertos
        Film Music
        Folk Legends
        Instrumental
        Musicals
        Opera / Operetta
        Orchestral
        Vocal

Jazz

Jazz Contemporary
Jazz Icons

New Age

Wind Band

World

        Ballad
        Bhuddist
        Chinese Music
        Classical (World)
        Early Music (World)
        Folk
        Gamelan
        Gypsy
        Hindustani
        Jazz (World)
        Klezmer
        Sufi
        Vocal (World)
        World

Special Offers:

Sale on select Chandos titles

Sale on select BBC Legends Items

Naxos Classics Clearance Sale

Sale on select Naxos American Classics

Sale on Charles Dickens DVD Box Set

Sale on select box sets

Clearance on Complete Beethoven Edition

Sale on the Jazz Icons Series

Clearance

Penguin Guide

200 Essential Recordings

Recently Released

Upcoming Releases

SACD

DVD

        Ballet DVD
        Classical Concert
        Classical Documentary
        Dance Documentary
        Opera DVD

Audio Books

        Anthologies / Collections
        Arts
        Biographies
        Children's Classics
        Classic Fiction
        Great Epics and Tales
        History
        Junior Classic Fiction
        Junior History
        Literature
        Music Biographies
        Music Education
        Non-Fiction
        Philosophy
        Plays - Others
        Plays - Shakespeare
        Poetry
        Religion
        Samplers
        Sports
        Wine Guide

NaxosDirect Podcasts

Video Librarian Reviews

Labels

Naxos Label

        Naxos American Classics
        Naxos Best Of...
        Naxos Box Sets
        Naxos Cinema Classics
        Naxos Classics
        Naxos DVD
        Naxos DVD-Audio
        Naxos International
        Naxos Jazz
        Naxos Limited Edition
        Naxos Milken Archives
        Naxos Night Music
        Naxos Opera
        Naxos Orchestral
        Naxos Special Release
        Naxos Wind Band Classics
        Naxos World

Composers

Conductors

Ensembles

Orchestras

Choirs

Artists

Instruments

Producers

Home

Classical Music

Opera / Operetta

$0.00

This item is not currently available.

This item is currently out of print.

Link to this Link to this page

Wolfgang Amadeus Mozart (1756 - 1791) Tenor Arias In 1781 Mozart won independence from the ties that had bound him to his native Salzburg. After a childhood...

Read more about this recording

Wolfgang Amadeus Mozart (1756 - 1791)

Tenor Arias

In 1781 Mozart won independence from the ties that had bound him to his native Salzburg. After a childhood during which he had astonished Europe by his feats of musicianship, there had been a less satisfactory period of adolescence in which his gifts were the greater but his chances to display them the less. An attempt to seek an honourable position in Mannheim or in Paris in 1777 and 1778 led to nothing, but the successful reception of his opera Idomeneo in Munich in January 1781 encouraged him in his quarrel with his patron, the Archbishop of Salzburg, during the course of a visit to Vienna immediately afterwards.

For the last ten years of his life Mozart lacked the security of patronage and was without the careful advice of his father, Leopold Mozart, who remained as Vice-Kapellmeister in Salzburg, unable any longer to guide and plan his son's career. An imprudent marriage did nothing to improve his position, but Vienna brought one very great advantage. At last it was possible to write directly for the theatre. Mozart's first Vienna opera during this period was the German Singspiel Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), in 1782. This was followed in 1786 by the first of his collaboration with Lorenzo da Ponte, the Italian opera Le nozze di Figaro (The Marriage of Figaro). In 1787, the year of his father's death, came a further opera with Lorenzo da Ponte, Don Giovanni, and in 1790, with the same poet, Cosi fan tutte, otherwise known as La scuola degli am anti (The School of Lovers). The following year Mozart wrote two operas, La clemenza di Tito (The Clemency of Titus) as a coronation opera for Prague and a German magic opera, Die Zauberflote

(The Magic Flute) for a suburban theatre in Vienna, where it was still running at the time of his death early in December.

The Magic Flute, which translates into popular theatrical terms something of the ritual and aims of free-masonry, deals with the passing of the young prince, Tamino, through ordeals of silence, fire and water, to acceptance in the society of Sarastro and union with Pamina, whose wicked mother, the Queen of the Night, has exhausted all the devices of coloratura in her attempts to thwart the forces of good. The libretto, by the actor-manager Emanuel Schikaneder, who played the part of the comic bird-catcher Papageno in the original production at the Theater-an-der-Wien, presents various problems of interpretation, but successfully follows a current pattern of magic opera, elevated now to a higher level of artistic achievement.

The tenor aria "Dies' Bildnis ist bezaubernd schon" (This portrait is enchantingly beautiful) is sung by Tamino as he gazes lovingly at a miniature of Pamina, daughter of the Queen of the Night, having promised her mother that he will strive to release her from the power of the allegedly wicked Sarastro.

"Wie stark ist nicht dein Zauberton" (How strong your magic sound) is sung by Tamino as he plays the magic flute, to which the animals of the forest emerge to dance. The prince has approached three temple doors and on the final attempt has been greeted by a priest, who tells him that Pamina still lives.

With the flute he calls to her.

The Turkish Singspiel, Die Entf�rung aus dem Serail (The Abduction from the Seraglio), tells how the hero Belmonte eventually succeeds, largely through the magnanimity of the Turkish Pasha Selim, in winning the release from his palace of his beloved Constanze.

"Hier soIl ich Dich denn sehen" (Now at last I shall see you) is Belmonte's opening aria, as he stands alone before the Pasha's palace, resolved to rescue Constanze. Belmonte is first united with his old servant Pedrillo, also a prisoner of the Pasha, and learns that Constanze is still alive. In the aria "Constanze! Constanze!" he longs to see her again, his passionate declaration interrupted by the arrival of the Pasha himself. "Wenn der Freude Tranen fiiessen" (When the tears of joy are flowing) is sung by Belmonte when he sees his beloved again and plans to outwit the Pasha and the comic overseer Osmin and arrange their escape. At midnight Belmonte and Pedrillo prepare to arrange the escape of Constanze and her servant Blonde from their quarters by setting a ladder to their window above. Belmonte sings to Constanze, resolved to succeed in his enterprise, claiming strength through the power of love - "Ich baue ganz auf Deine Starke" (I place my faith on the power of love). The attention of Constanze and Blonde is attracted by the following serenade, sung by Pedrillo, who accompanies himself on the mandolin.

"Im Mohrenland gefangen war" (In Moorish land imprisoned was a maiden, fair and fine), Pedrillo's serenade, is the agreed sign, at which the women should appear at the window above, ready to climb down. Their escape is intercepted by Osmin, but the Pasha in the end allows his captives to go free.

Don Giovannifollows the amorous escapades and terrible fate of the legendary Spanish lover Don Juan (Don Giovanni), the subject of a play by Tirso de Molina in the early seventeenth century. The title role of the opera is entrusted to a baritone, while his rival, Don Onavio, the true lover of Donna Anna, who has been wronged by Don Giovanni and whose father he has killed, sings to his beloved the two great romantic arias of the opera, the first, "Dalla sua pace" (My peace depends on hers), an attempt to console her, when he learns what has happened.

In the second, "Il mio tesoro" (My treasure), Don Onavio's only aria in the original Prague version of the opera, he re-assures his hearers that all will soon be well and Don Giovanni brought to justice. This is in the end achieved by supernatural means, as the stone statue of Donna Anna's murdered father accepts Don Giovanni's invitation to dinner and drags him down to Hell.

In Cosi fan tune, the cynical Don Alfonso persuades the young lovers Ferrando and Guglielmo to test the loyalty of their betrothed by pretending to leave for the wars but actually returning in foreign disguise to tempt the two girls. At first they resist, and Ferrando in "Un' aura amorosa" (A loving breath) praises the apparent constancy of his beloved. Soon Guglielmo has proved successful with Ferrando's Dorabella, while Fiordiligi still forthe moment stands firm, although nearly convinced by Ferrando's "Ah lo veggio quell' anima bella" (Now I see this lovely soul cannot resist my pleas). In the recitative "In qual fiero contrasto" and the following aria "Tradito, schernito" (Betrayed, spurned), Ferrando reacts strongly to the news that Dorabella has fallen to the wiles of his friend. Matters are later brought to a crisis when a mock-wedding is interrupted by the return of the young men as themselves, disguises cast aside, and the general conclusion that equanimity in changing fortune is no bad thing.

(The Clemency of Titus) makes use of a libretto adapted from Metastasio, court poet of an earlier age. The Empress, after the performance to mark the coronation of the Emperor in Bohemia, is reputed to have dismissed the piece as "porcherfa tedesca" (German piggishness), possibly too heavy for fashionable Italian taste. The story of the magnanimity of the Roman Emperor Titus was well suited to the occasion, praise of imperial enlightenment, however little this was to be exercised in the composer's favour. The aria "Del piu sublime soglio" (This is the only success of the highest monarch) allows Titus to reflect on the power of a ruler to reward virtue after his announcement that he will marry Servilia, sister of Sextus, and, unknown to the Emperor, in love with Annius. In his later aria, again to the original words of Metastasio, "Ah, se fosse" (If only everyone were so honest) Titus praises the noble behaviour of Annius and the frankness of Servilia, who now have acknowledged their love for one another. In the second act Titus, in his Metastasian aria "Se all' impero" (If an Emperor needs sternness, then take my empire away from me), while still pretending the sternest justice, has resolved to pardon Sextus, who has conspired against him, suborned by the jealous Vitellia, also to be forgiven, through the clemency of Titus.

John Dickie

John Dickie was born in London and grew up in Vienna, where his father was for thirty years a singer with the Vienna State Opera. After leaving school, he spent three years at the Vienna Musikhochschule as a student of Luise Scheid, followed by two years at the Conservatory as a pupil of Hilde Zadek, undertaking study of Italian roles in Florence under Flaminio Contini during the summer months. After three years experience at the Vienna Volksoper, John Dickie's first engagement was at Wuppertal, where he was able to study and perform various lyric tenor roles under the direction of Hellmuth Matthiasek and Hans-Martin Schneidt. He followed this with three seasons at Mannheim. During this period he made his first appearance at the Vienna State Opera in The Barber of Seville and at the German Opera in Berlin in The Merry Wives of Windsor. From Mannheim he moved to Hamburg for two further seasons at the Staatsoper, at this time making his Covent Garden debut as Almaviva in The Barber of Seville. John Dickie was invited by Eberhard Waechter, the new director of the Vienna Opera Houses, to return to Vienna. He has since then fulfilled engagements in Hamburg, Cologne and other important opera-houses. He has appeared, in addition, at the German Opera of the Ahine, the Theatre National de l'Opera de Paris and the Grand Theatre de Geneve. In 1981 he sang for the first time at the Bregenz Festival, appearing as Tamino in the famous Savcary production of The Magic Flute. John Dickie has appeared often on television, in particular in a distinguished production of Gluck's Orphee in Paris, a project of OAF and East German Television. He sang the part of the Evangelist and the tenor arias of the St. Matthew Passion for the first time in Leipzig in the autumn of 1989 under the direction of Max Pommer.

Disc 1

Die Zauberflote (The Magic Flute), K. 620

(more info)

Performed by: Vienna Philharmonic Orchestra Canadian Opera Company Orchestra Berlin Philharmonic Orchestra Budapest Failoni Chamber Orchestra Berlin Radio Symphony Orchestra New York Metropolitan Opera Orchestra Capella Istropolitana Berlin Symphony Orchestra Freiburg Baroque Orchestra Leipzig Radio Symphony Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Vienna Mozart Orchestra Failoni Orchestra, Budapest Berlin State Opera Orchestra Dresden Staatskapelle Studio orchestra Stuttgart Radio Symphony Orchestra Stuttgart State Orchestra Cologne Radio Symphony Orchestra Linz Bruckner Orchestra Mannheim National Theatre Orchestra St. Petersburg Musical Theare Chamber Orchestra, Zazerkalye Bratislava Opera Orchestra
Composed by: Wolfgang Amadeus Mozart William Lawrence Arturo Toscanini
Conducted by: Marcus Creed Johannes Muller Rudolf Kempe Gottfried von der Goltz Selmar Meyrowitz Oliver Dohnanyi Peter Guth Michael Halasz Konrad Leitner Alexander Rahbari Johannes Wildner Carl Schuricht Joseph Keilberth Richard Bradshaw Lothar Zagrosek Thomas Beecham Bruno Seidler-Winkler David Parry Arthur Gruber Ivan Anguelov Gerhard Pfluger Frederic Chaslin Gerhard Wiesenhutter Pavel Bubelnikov
Miliza Korjus, soprano
Gottlob Frick, bass
Michael Bohnen, baritone
Werner Liebing, tenor
Lisa Otto, soprano
Arno Schellenberg, baritone
Richard Tauber, tenor
Elisabeth Schumann, soprano
Erna Berger, soprano
Erika Koth, soprano
Tiana Lemnitz, soprano
Alexander Kipnis, bass
John Dickie, tenor
Thomas Allen, baritone
Hellen Kwon, soprano
Ruth Ziesak, soprano
Miriam Gauci, soprano
Kurt Rydl, bass
Wilfried Gahmlich, tenor
Hans Hotter, bass-baritone
Erich Kunz, baritone
Joseph Schmidt, tenor
Kurt Marschner,
Elisabeth Norberg-Schulz, soprano
Annelies Kupper, soprano
Hanna Ludwig,
Elisabeth Lindermeier,
Lotte Leitner, soprano
Elfriede Trotschel, soprano
Susan Gritton, soprano
Herbert Lippert, tenor
Wilma Lipp,
Andrea Martin, baritone
Teresa Stich-Randall,
Josef Greindl, bass
Rudolf Schock, tenor
Gerhard Husch, baritone
Jarmila Novotna, soprano
Sandrine Piau, soprano
Karl Paul, bass
Donna Robin, soprano
Helge Rosvaenge, tenor
Michael Schade, tenor
Georg Tichy, baritone
Cornelia Ptassek, soprano
Peter Esser, tenor
Horst Otto Rainer, tenor
Kurt Lieck, narrator
Kathe Moller-Siepermann, soprano
Hilla Oppel, soprano
Gisela Litz, alto
Kristina Sert, soprano
Wilhelm Luckert, tenor
Walter Kreppel, bass
Hermann Thimig, narrator
Isabel Bayrakdarian, soprano
Fritz Wunderlich, tenor
Elisabeth Norberg Schultz, mezzo-soprano
Ruby Elzy, soprano
Elena Morozava, soprano
Katarina Kmetova, soprano
Russell Braun, baritone
Recording date: 8 March 1938

Dies Bildnis ist bezaubernd schon - 4:00
Wie stark ist nicht dein Zauberton - 3:12

Die Entfuhrung aus dem Serail (Abduction from the Seraglio), K. 384

(more info)

Performed by: Canadian Opera Company Orchestra CBC Montreal Orchestra Vienna State Opera Orchestra Berlin Radio Symphony Orchestra Capella Istropolitana Calgary Philharmonic Orchestra Berlin Symphony Orchestra Freiburg Baroque Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Berlin Staatskapelle Vienna Mozart Orchestra Berlin State Opera Orchestra Studio orchestra RAI Symphony Orchestra, Rome Linz Bruckner Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Oliviero De Fabritiis Jean-Marie Beaudet Marcus Creed Franz Schonbaumsfeld Gottfried von der Goltz Mario Bernardi Josef Krips Konrad Leitner Robert Heger Martin Sieghart Johannes Wildner Karl Alwin Richard Bradshaw Thomas Beecham Hanns-Martin Schneidt
Maria Nemeth, soprano
Miliza Korjus, soprano
Maria Cebotari, soprano
Richard Tauber, tenor
Elisabeth Schumann, soprano
Erna Berger, soprano
John Dickie, tenor
Ruth Ziesak, soprano
Andrea Martin, baritone
Maria Callas, soprano
Franz Kalchmair, bass
Ingrid Habermann, soprano
Donna Ellen, soprano
Oliver Ringelhahn, tenor
Harald Pfeiffer, voice
Sandrine Piau, soprano
Donna Robin, soprano
Pierrette Alarie, soprano
Leopold Simoneau, tenor
Michael Schade, tenor
Tracy Dahl, soprano
Piotr Beczala, tenor
Lois Marshall, mezzo-soprano
Recording date: 11 October 1947

Don Giovanni, K. 527

(more info)

Performed by: Canadian Opera Company Orchestra CBC Montreal Orchestra Nicolaus Esterhazy Sinfonia RTBF Symphony Orchestra London Symphony Orchestra New York Metropolitan Opera Orchestra Estonian State Symphony Orchestra Trois-Rivieres Symphony Orchestra Capella Istropolitana Calgary Philharmonic Orchestra London Philharmonic Orchestra Berlin Symphony Orchestra Glyndebourne Festival Orchestra Toronto Symphony Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Vienna Mozart Orchestra Wurttemberg Philharmonic Orchestra San Francisco Symphony Orchestra Studio orchestra Grande Ecurie et la Chambre du Roy, La Galicia Symphony Orchestra Metropolitan Orchestra Mannheim National Theatre Orchestra Bulgarian National Radio Symphony Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Edward Gardner Lodovico Zocche Eri Klas Lawrance Collingwood Gaetano Merola Jean-Marie Beaudet Gilles Bellemare Victor Pablo Perez Marcus Creed Fritz Reiner John Barbirolli Walter B. Rogers Fritz Busch Umberto Berrettoni Eduardo Pedrazzoli Mario Bernardi John Pritchard Jean-Claude Malgoire Michael Halasz Konrad Leitner Bruno Walter Johannes Wildner Ronald Zollman Charles Rosekrans Richard Bradshaw George W. Byng David Parry Gareth Hancock Frederic Chaslin John Landor
Gary Relyea, bass-baritone
Patrick Donnelly, baritone
Dominique Labelle, soprano
Liesel Fedkenheuer, mezzo-soprano
Krisztina Szabo, mezzo-soprano
John McCormack, tenor
Salvatore Baccaloni, bass
Pascale Beaudin, soprano
Aaron St. Clair Nicholson, baritone
Ina Souez, soprano
Luise Helletsgruber, soprano
Audrey Mildmay, soprano
Beniamino Gigli, tenor
Feodor Chaliapin, bass
Frida Leider, soprano
Richard Tauber, tenor
Elisabeth Schumann, soprano
Alexander Kipnis, bass
Adrianne Pieczonka, soprano
John Dickie, tenor
Koloman von Pataky, tenor
David Franklin, bass
Roy Henderson, baritone
Renato Girolami, bass
Torsten Kerl, tenor
Regina Schorg, soprano
Bo Skovhus, baritone
Ildiko Raimondi, soprano
Janusz Monarcha, bass
Thomas Allen, baritone
Ruth Ziesak, soprano
Maria Bayo, soprano
Charles Kullman, tenor
Elisabeth Schwarzkopf, soprano
Boaz Daniel, bass
Dmitri Hvorostovsky, baritone
Nicolas Rivenq, baritone
Rose Bampton, soprano
Hubert Claessens, bass
Dino Fedri,
Lado Ataneli, baritone
Sophie Marin-Degor, soprano
Jorma Hynninen, baritone
Michael Colvin, tenor
Andrea Martin, baritone
Tito Gobbi, baritone
Veronique Gens, soprano
Lucy Crowe, soprano
Simon Edwards, tenor
Jarmila Novotna, soprano
Ezio Pinza, bass
Gerald Finley, baritone
Kristine Jepson, mezzo-soprano
Mariusz Kwiecien, baritone
Donna Robin, soprano
Leopold Simoneau, tenor
Bidu Sayao, soprano
Michael Schade, tenor
Jose Van Dam, baritone
Ljuba Welitsch, soprano
Alain Trudel, sackbut
Cornelia Ptassek, soprano
Isabel Bayrakdarian, soprano
John Brownlee, baritone
Alain Coulombe, bass
Danielle Borst, soprano
Dorothy Warenskjold, soprano
Edward Pleasant, baritone
Allan Monk, baritone
Gretan Laperriere, baritone
Russell Braun, baritone
Lois Marshall, mezzo-soprano
Recording date: 12 May 1939

Dalla sua pace - 4:38
Il mio tesoro (Kind Hearts And Coronets) - 4:39

Cosi fan tutte, K. 588

(more info)

Performed by: Canadian Opera Company Orchestra Slovak Philharmonic Orchestra Trois-Rivieres Symphony Orchestra Philharmonia Cassovia Tampere Philharmonic Orchestra Capella Istropolitana West German Radio Symphony Orchestra Calgary Philharmonic Orchestra Berlin Symphony Orchestra Glyndebourne Festival Orchestra Philharmonia Orchestra Tapiola Sinfonietta Grande Ecurie et la Chambre du Roy, La
Composed by: Wolfgang Amadeus Mozart
Conducted by: Herbert von Karajan Eri Klas Gunter Wand Gilles Bellemare Marcus Creed Fritz Busch Mario Bernardi Jean-Claude Malgoire Johannes Wildner Richard Bradshaw
Sophie Fournier, mezzo-soprano
Patrick Donnelly, baritone
Annie Burgaux, soprano
Jose Canales, vocals
Stephanie Leclercq, vocals
Rigoberto Marin-Polop, baritone
Gaynor Morgan, soprano
Rebecca Ockenden, soprano
Isabelle Senges, mezzo-soprano
Jean-Marc Thoron, vocals
Lisa Otto, soprano
Priti Coles, soprano
Sesto Bruscantini, baritone
Ina Souez, soprano
Luise Helletsgruber, soprano
Nan Merriman, mezzo-soprano
Tommi Hakala, baritone
Martial Defontaine,
John Dickie, tenor
Irene Eisinger, vocals
Peter Schreier, tenor
Ruth Ziesak, soprano
Rohangiz Yachmi, mezzo-soprano
Elisabeth Schwarzkopf, soprano
Nicolas Rivenq, baritone
Sophie Marin-Degor, soprano
Laura Polverelli, mezzo-soprano
Andrea Martin, baritone
Evgueniy Alexiev, baritone
Rolando Panerai, baritone
Heddle Nash, tenor
Willi Domgraf-Fassbaender, baritone
Peter Mikulas, bass
Simon Edwards, tenor
Donna Robin, soprano
Leopold Simoneau, tenor
Soile Isokoski, soprano
Michael Schade, tenor
John Brownlee, baritone
Joanna Borowska, soprano
Evelyne Brun,
James Schwabacher, tenor
Allan Monk, baritone
Gretan Laperriere, baritone
Russell Braun, baritone
Recording date: March 1990

Un' aura amorosa - 5:02
Ah, lo veggio - 5:06
In qual fiero contrasto ... Tradito, schernito - 3:58

La clemenza di Tito, K. 621

(more info)

Performed by: Latvian National Symphony Orchestra London Symphony Orchestra Capella Istropolitana Freiburg Baroque Orchestra Royal Philharmonic Orchestra Studio orchestra Cologne West German Radio Orchestra
Composed by: Wolfgang Amadeus Mozart
Conducted by: Gottfried von der Goltz Eduardo Pedrazzoli Johannes Wildner Charles Rosekrans Joseph Keilberth Alexandrs Vilumanis
Elina Garanca, soprano
John Dickie, tenor
Ernestine Schumann-Heink, contralto
Ira Malaniuk, soprano
Peter Offermanns,
Nicolai Gedda, tenor
Sandrine Piau, soprano
Hilde Zadek, soprano
Kristine Jepson, mezzo-soprano
Gerhard Groschel, bass
Rolf Henniger, narrator
Ilse Wallenstein, soprano
Lois Marshall, mezzo-soprano
Recording date: 16-20 December 1989

Reviews

Be the first to review this title

FREE SHIPPING on orders
of 5 items or more!

Earn Naxos Rewards Points by opening an account and buying your favorite music today! Create your account here.

See all of our great site features here.