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Complete Overtures Vol. II
Wolfgang Amadeus Mozart
- Sinfonie KV 207a 6'43
- Idomeneo Ballettmusik KV 367 13'56
- Le Nozze di Figaro KV 492 5'56
- Cosi fan tutte KV 588 4'21
- Die Entführung aus dem Serail KV 384 5'19
- La Clemenza di Tito KV 621 4'57
- Don Giovanni KV 527 5'45
- Der Schauspieldirektor KV 486 3'59
- Die Zauberflöte KV 620 6'17
Manfred Huss, Conductor- Haydn Sinfonietta Wien
ADV- A 9110-2C
In the history of opera, Mozart's works for the stage take a central role. His dramatic sensitivity lead to a individualism and decidedly to a further development of the opera in the 19th Century. Mozart gave the generation and epoch that was to follow him a undisputed point of departure.
Mozart was never the reformer like Christoph Willibald Gluck - instead he brought new discoveries, and even more unknown highlights. With his stage works he worked in three different genres - the opera seria, the opera buffa, and the Singspiel.
In his early works, Mozart used the typical pillars and discoveries of the opera seria. With Idomeneo he took his hand at rearranging the text himself in order to strengthen the relationship between music and drama, and connect both elements together. Mozart's most important works in this genre were Idomeneo and La clemenza di Tito.
The opera buffa is another operatic genre where the actors and subsequent scenes are displayed comically and with (much) parody. Formally, the opera buffa is like the opera seria, with recitatives and arias.
However, the Singspiel is different to the opera seria and opera buffa through its element of spoken dialog. Mozart set almost unreachable standards that no successor was able to emulate. Die Entführung aus dem Serail and Die Zauberflöte are the crowning achievements of the german Singspiel and therein also ended their historical significance. In the Singspiels of Mozart, theatrical moments would be exclusively expressed in music, wherein also the operatic requirements of the Singspiel were lost.
With Der Zauberflöte, Mozart created the German Opera tradition and presented the opera composers of the successive generation a point of departure for the romantic opera in Germany.
Manfred Huss
adapted from the CD-Booklet
Mozart was never the reformer like Christoph Willibald Gluck - instead he brought new discoveries, and even more unknown highlights. With his stage works he worked in three different genres - the opera seria, the opera buffa, and the Singspiel.
In his early works, Mozart used the typical pillars and discoveries of the opera seria. With Idomeneo he took his hand at rearranging the text himself in order to strengthen the relationship between music and drama, and connect both elements together. Mozart's most important works in this genre were Idomeneo and La clemenza di Tito.
The opera buffa is another operatic genre where the actors and subsequent scenes are displayed comically and with (much) parody. Formally, the opera buffa is like the opera seria, with recitatives and arias.
However, the Singspiel is different to the opera seria and opera buffa through its element of spoken dialog. Mozart set almost unreachable standards that no successor was able to emulate. Die Entführung aus dem Serail and Die Zauberflöte are the crowning achievements of the german Singspiel and therein also ended their historical significance. In the Singspiels of Mozart, theatrical moments would be exclusively expressed in music, wherein also the operatic requirements of the Singspiel were lost.
With Der Zauberflöte, Mozart created the German Opera tradition and presented the opera composers of the successive generation a point of departure for the romantic opera in Germany.
Manfred Huss
adapted from the CD-Booklet
