Dorothea Roschmann Daniel Harding Mozart AriasDorothea Röschmann
Mozart Arias

Swedish Radio Symphony Orchestra
Daniel Harding, conductor

Sony, 2015

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Dorothea Röschmann is without question one of the best Mozartian sopranos of our times, especially renowned for her Zerlina and Donna Elvira in Don Giovanni, for Vitellia in La clemenza di Tito, for Pamina in Die Zauberflöte (with Colin Davis in 2003 and with Claudio Abbado in 2005) and most of all for the Countess in Le nozze di Figaro, of which I remember at least two DVD recordings, one made in Salzburg in 2006 (with Anna Netrebko, Ildebrando D’Arcangelo and Nikolaus Harnoncourt) and the other recorded in London in the same year (with Miah Persson, Gerald Finley and Antonio Pappano).

In Mozart Arias we have the opportunity to listen to some of the best roles of the German soprano. The only negative side of this recording is that the choice of tracks is not original at all: apart from the chamber aria Bella mia fiamma, addio (K. 528), which in any case is not a rarity, the choice of songs is limited to the most famous arias. The tracklist, in fact, includes two arias of Ilia and Elettra from Idomeneo (creating the contrast between the “bad” and the “good character”), the two arias of Vitellia from La clemenza di Tito and the two arias of the Countess from Le nozze di Figaro. As I said before, these are among Röschmann’s best roles, so it was inevitable that they were included in Mozart Arias, but it would have been nice to hear also some less famous pieces sung by this great artist. I only hope that there will be occasion for it in the future.

Beyond this, in Mozart Arias we find the beautifully smooth voice of Dorothea Röschmann, the pure and elegant line of her singing and the abandonment that demonstrates her devotion to music. These general elements are enriched with precious details such as the heartfelt emphasis on “o disperata Elettra” (Idomeneo), the opening of the recitative E Susanna non vien from Le nozze di Figaro), that makes you imagine a cautious entrance on tiptoe, the corona of “veggo la morte ver’ me avanzar” (La clemenza di Tito), which ends with a silence of horror.

Even if the music is “closed” in the individual arias, after listening to the whole CD you will have the impression of an endless flowing of beautiful sounds emitted by an exceptional voice. Lastly, the magnificent direction of Daniel Harding, accompanying the singer with attention and shows its sensitivity, makes Mozart Arias even more enjoyable.

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