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Libertà!
Sabine Devieilhe (soprano), Siobhan Stagg (soprano), Serena Malfi (mezzo), Linard Vrielink (tenor), John Chest (baritone), Nahuel di Pierro (bass-baritone)
Pygmalion, Raphaël Pichon
International Classical Music Awards
2019
Nominee - Vocal
Between Die Entfuhrung aus dem Serail and the advent of the famous Da Ponte trilogy, Mozart threw himself frantically into the search for the right libretto, capable of taking the spectator to lands still unexplored where the drama and the psychology of the characters would be sublimated by the music.
Hence, in the years between 1782 and 1786, Mozart set up a veritable laboratory for dramatic music: a musical corpus of concert arias, sketches and stylistic exercises like the canon - brilliantly organised here as an imaginary dramma giocoso in three scenes, each heralding in its own way one of the summits to come: Figaro, Don Giovanni, Cosi…
Mozart: Ah che accidenti! (from Lo sposo deluso)
Mozart: Ah che ridere! (from La sposo deluso)
Mozart: Bella mia fiamma, addio... Resta, oh cara, K528
Mozart: Caro bell'idol mio, K562
Mozart: Corpo di Satanasso! (from L'oca del Cairo, K422)
Mozart: Cosi dunque tradisci … Aspri rimorsi atroci, K432
Mozart: Der Schauspieldirektor, K486: Overture
Mozart: Io ti lascio, oh cara, addio, KAnh. 245
Mozart: Lo sposo deluso, K430: Overture
Mozart: Nascoso e il mio sol, K557
Mozart: Ne pulvis et cinis (from Thamos, Konig in Agypten, K345)
Mozart: No, che non sei capace, K419
Mozart: Per pieta, non ricercate KV 420
Mozart: Piu non si trovano, K549
Mozart: Ridente la calma, K152
Mozart: Se lontan, ben mio, K438
Mozart: Spiegarti non poss'io, K489
Mozart: Thamos, Konig in Agypten, K.345: Overture
Mozart: Vado, ma dove? oh Dei!, K583
Mozart: Warnung 'Manner suchen stehts zu naschen', K433
Paisiello: Saper bramate (from Il barbiere di Siviglia)
Salieri: Con mille smanie al core (from La scuola de' gelosi)
Salieri: Son le donne sopraffine (from La scuola de' gelosi)
Soler, V M: Una cosa rara: O quando un si bel giubilo
December 2019
Pichon’s approach is ingenious…Sabine Devieilhe is the show’s star. Her distinctive soprano excels not only in the fiery passage work of ‘Da Schlagt’ (from Mozart’s Der Schauspieldirektor) but also in the legato warmth of ‘Ridente la calma’…The orchestral playing throughout is texturally clear, musically fluent and theatrically apt.
Awards Issue 2019
Beautifully performed and thoroughly enjoyable…The three overtures go with a swing, the fiery Thamos overture being especially suitable for ‘The Debauchee Punished’…Whether or not you go along with Pichon’s meta-operas, this is an excellent selection that shows Mozart preparing for the three comic masterpieces.
February 2020
The period ensemble’s characterful playing is given a clear sense of direction by its artistic director…Chest and the chorus are thrilling in an extraordinary arrangement of an extract from Thamos.
August 2019
An electrifying portrait of a composer on the cusp of greatness...ensembles from L’oca del Cairo and Lo sposo deluso crackle with energy and the more familiar concert arias are brilliantly sung, but the unaccompanied canons are the real pearls. A definite Record of the Year for me.
1st September 2019
While the logic of the whole may not be purist, it’s totally ingenious and brilliantly delivered.
Opera NowOctober 2019
It is a fascinating premise: Mozart underwent great personal and artistic change from 1782-86 and produced a wealth of vocal material that Pichon has drawn on for this project. Six singers share the roles with dazzling results. Sabine Devieilhe gets star billing, but to be ungallant I must single out Siobhán Stagg: her soprano is creamy yet pellucid, even- toned and beguiling. Pichon builds the tension and the recorded sound is excellent.
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