EMI 3-LPs SLS-5028: MOZART - Cosi Fan Tutte - BOHM, Schwarzkopf, Ludwig, 1963 UK
Sold Date:
January 20, 2020
Start Date:
November 1, 2017
Final Price:
$59.99
(CAD)
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Background -
Although it is commonly held that Così fan tutte was written and composed at the suggestion of the Emperor Joseph II, recent research does not support this idea. There is evidence that Mozart's contemporary Antonio Salieri tried to set the libretto but left it unfinished. In 1994, John Rice uncovered two terzetti by Salieri in the Austrian National Library.
The title, Così fan tutte, literally means "Thus do all [women]" but is usually translated into English as "Women are like that". The words are sung by the three men in act 2, scene 13, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line "Così fan tutte le belle" earlier in Le nozze di Figaro (in act 1, scene 7).
Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.
Karl August Leopold Böhm (28 August 1894 in Graz – 14 August 1981 in Salzburg) was an Austrian conductor. Considered particularly gifted in his interpretations of Wagner and Mozart, he has been described by one critic as one of the greatest conductors of the 20th century.
Karl Böhm was one of the greatest conductors of the twentieth century in the German tradition. He studied music as a child and continued to work and study in music while serving in the Austrian Army during World War I -- and while completing a doctorate in law. He coached singers at the Graz Opera and was permitted to conduct a performance of Nessler's Der Trompeter von Sackingen. He never had conducting lessons, but made close studies of the work of both Bruno Walter and Carl Muck.
In 1921 he was hired by the Bavarian State Opera in Munich, and then he became Generalmusikdirektor in both Darmstadt (1927) and Hamburg (1931-1933). He gained a reputation for his fine performances of Mozart, Wagner, and Richard Strauss, as well as his championing of modern German music, including operas by Krenek and Berg. Böhm debuted in Vienna in 1933, leading Wagner's Tristan und Isolde. In 1934 he became director of the Dresden State Opera, Richard Strauss's favorite theater. There, Böhm conducted premieres of Strauss's Die schweigsame Frau (1935) and Dafne (1938). He remained at the helm in Dresden through 1943, at which point he became director of the Vienna State Opera (1943-1945). Richard Strauss was not in official favor, and Joseph Goebbels banned any recognition of the great composer's 80th birthday in 1944. However, Böhm participated in a de facto observance, as a large number of Strauss's orchestral and operatic works "just happened" to be played about the time of the birthday.
After the war, Böhm was forbidden to perform until he underwent "de-Nazification," a procedure whereby prominent Austro-Germans were investigated for complicity in Nazi crimes. He was eventually cleared of any suspicion, and was permitted to resume work in 1947.
Böhm oversaw the German repertory at the Teatro Colón in Buenos Aires (1950-1953), and again served as director of the Vienna State Opera (1954-1956). He debuted in the USA at New York's Metropolitan Opera with Mozart's Don Giovanni in 1957, and took prominent German orchestras and opera companies on tour. The Vienna Philharmonic bestowed on him the title "Ehrendirigent," and he was proclaimed Generalmusikdirector of Austria. He left a legacy of many great recordings, including a complete Wagner Ring cycle considered by many critics to be the best. While his Wagner and Strauss were sumptuously Romantic, his Mozart was scrupulously Classical in approach.
The close-up, slightly dry sonics underline Böhm’s tightly-knit, forthright, and sober conception. He opens many of the recitative cuts made in Karajan’s earlier Philharmonia Così, while presiding over a strong cast. Elisabeth Schwarzkopf’s silvery Fiordiligi didn’t age at all since the Karajan recording, but here she enacts the text to a more precious degree. Christa Ludwig’s darker voice and more direct musicianship, though, make a desert island Dorabella. As Ferrando, Alfredo Kraus’ hefty, ringing tenor will appeal to tastes other than mine (I greatly prefer Karajan’s Leopold Simoneau, one of the most elegant stylists to undertake this part). But how Giuseppi Taddei wraps his beguiling, idiomatic, and alert pipes around Guglielmo’s music! The unusual clarity and precision of the chorus merits special distinction too. All in all, Böhm’s Così, among traditional (that is, non-period instrument) recordings, safely holds its long-time benchmark position. - Jed Distler
Così fan tutte is the most balanced and probing of all Mozart’s operas, formally faultless, musically inspired from start to finish, emotionally a matter of endless fascination and, in the second act, profoundly moving. It has been very lucky on disc, and besides this delightful set there have been several other memorable recordings. However, Karl Böhm’s cast could hardly be bettered, even in one’s dreams. The two sisters are gloriously sung – Schwarzkopf and Ludwig bring their immeasurable talents as Lieder singers to this sparkling score and overlay them with a rare comic touch. Add to that the stylish singing of Alfredo Kraus and Giuseppe Taddei, and the central quartet is unimpeachable. Walter Berry’s Don Alfonso is characterful and Hanny Steffek is quite superb as Despina.
The pacing of this endlessly intriguing work is measured with immaculate judgement. The emotional control of the characterisation is masterly and Böhm’s totally idiomatic response to the music is arguably without peer. However, more recent recordings, using period instruments, do offer stimulating alternative views. - Gramophone Magazine
LPs made by EMI (His Master's Voice) Records, in the UK / England / Great Britain
LPs released in 1963 (Recorded September 1962, Kingsway Hall, London, England.)
LPs are recorded in STEREO Record Catalog Number: SLS 5028 Record Labels are primarily RED with BLACK lettering, and has the "Colored Postage Stamp Nipper" on all the record labels.
This listing is for a rare, out of print 3-LP boxed set - an OPENED and in Near MINT minus condition set PRESSED and ISSUED by EMI - HMV Records of a highly collectible title from their catalog - a superb title featuring -
Mozart // Karl Bohm & PO & Chorus
Mozart: Cosi Fan Tutte
Tracks -
1. Così fan tutte, K 588 by Wolfgang Amadeus MozartPerformer: Elisabeth Schwarzkopf (Soprano), Christa Ludwig (Mezzo Soprano), Hanny Steffen (Soprano),
Alfredo Kraus (Tenor), Giuseppe Taddei (Baritone), Walter Berry (Baritone)
Conductor: Karl Böhm
Orchestra/Ensemble: Philharmonia Orchestra and Chorus
Period: Classical
Written: 1790; Vienna, Austria
Date of Recording: 1962
Language: Italian
A1Overture
A2Act I, Part 1
B1Act I, Part 2
C1Act I, Conclusion
D1Act II, Part 1
E1Act II, Part 2
F1Act II, Conclusion
Performers / Credits -
• Baritone Vocals [Guglielmo] – Giuseppe Taddei
• Bass Vocals [Don Alfonso] – Walter Berry
• Chorus – Philharmonia Chorus
• Composed By – Wolfgang Amadeus Mozart
• Conductor – Karl Böhm
• Harpsichord, Other [Musical Assistant] – Heinrich Schmidt
• Libretto By – Lorenzo Da Ponte
• Liner Notes – Michael Marcus
• Mezzo-soprano Vocals [Dorabella] – Christa Ludwig
• Orchestra – The Philharmonia Orchestra
• Other [Musical Assistant] – Maestro Antonio Tonini
• Soprano Vocals [Despina] – Hanny Steffek
• Soprano Vocals [Fiordiligi] – Elisabeth Schwarzkopf
• Tenor Vocals [Ferrando] – Alfredo Kraus
CONDITION Details: The 3-LP box is in near mint minus condition! The box has NO splits or crushed corners! The corners and seams are solid with just some light shelf wear evident. The colors on the box are sharp and clean (see pictures with this listing as they are of the actual item). The set comes complete with a large, 20-page paper insert/libretto. The 3-LPs are in near mint minus condition! We found that the vinyl looked superb on this vintage LP set. There are no significant marks and the LPs retain much of the original gloss and sheen - obviously well taken care of! They do have a bit of dust and perhaps a finger print or two on them so they should be cleaned before playing. There are NO serious spindle marks on the record labels either. Just beautifully made vinyl! That said, acquiring a vintage LP like this is for the performance and rarity of the LP, not necessarily for the sound quality. A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.
For best results, always properly clean your LPs before playing them.
The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Don't let this
rarity slip
by!!!
