Dorothea Röschmann – Mozart Arias (2015) [FLAC 24 bit, 96 kHz]

Dorothea Röschmann - Mozart Arias (2015) [FLAC 24 bit, 96 kHz] Download

Artist: Dorothea Röschmann
Album: Mozart Arias
Genre: Classical, Opera
Release Date: 2015
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 56:40
Total Tracks: 8
Total Size: 955 MB

Tracklist:

1-01. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Idomeneo, K. 366, Act III Scene 10: Oh smania! Oh furie!… D’Oreste, d’Aiace (06:41)
1-02. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – La clemenza di Tito, K. 621, Act I: Deh, se piacer mi vuoi (05:35)
1-03. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Le nozze di Figaro, K. 492, Act II: Porgi, amor, qualche ristoro (03:55)
1-04. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Le nozze di Figaro, K. 492, Act III: E Susanna non vien!… Dove sono i bei momenti (06:52)
1-05. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Don Giovanni, K. 527, Act II: In quali eccessi, o Numi… Mi tradì quell’alma ingrata (06:28)
1-06. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Idomeneo, K. 366, Act III Scene 1: Solitudini amiche… Zeffiretti lusinghieri (06:58)
1-07. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – La clemenza di Tito, K. 621, Act II: Ecco il punto, o Vitellia… Non più di fiori (09:49)
1-08. Dorothea Röschmann;Daniel Harding;Swedish Radio Symphony Orchestra – Bella mia fiamma, addio, K. 528 (10:19)

Download:

German soprano Dorothea Röschmann has been a staple of Mozart performances in Germany and Austria. When you first hear her voice in one of the Mozart standards — sample “Porgi, amor, qualche ristoro” from The Marriage of Figaro (track 3) — it sounds like something has misfired, and that you’d rather hear the singer in the likes of Mahler (whom she has also sung a good deal). If you are looking for creamy Mozart singing, look elsewhere; Röschmann has a dark sound, with a bit of mud to it. But put the aria in context, as you would when hearing an entire opera, and Röschmann begins to make a great deal more sense: dramatic sense. She falls toward the actress end of the singer-actress spectrum, certainly, but she’s capable of quiet high notes that will give you a chill because they express the nature of the character involved, tragic or comic. Röschmann offers a short program with a pair of arias from Idomeneo, K. 366, and a pair from La Clemenza di Tito, K. 621, plus the scene Bella mia fiamma, addio!, K. 528. None of these is an orthodox choice, and all fit her powerful voice. The Swedish Radio Symphony under Daniel Harding provides sensitive support, and it’s also significant that the graphics really invite you in to find out what is going on here. This is fresh Mozart indeed, from a singer emerging as an international star.

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