Mozart - Mitridate / Bartoli, Dessay, Sabbatini, Asawa, Piau, Flórez, Les talens lyriques, Rousset

Editorial Reviews
Amazon.com essential recording
This full-length opera seria--written by Mozart at age 14--has had some strong recorded exposure in the past, but this set may bring it to a broader public than ever before. Now that Handel's operas in the same genre are much more in evidence, what once might've seemed like the work of an underdeveloped dramatist is only Mozart maintaining the status quo, which is a long, expository, musically conservative first act followed by two shorter acts with much more individualistic arias, some of them exquisite and among the composer's very best. Conductor Christophe Rousset is perfect for finding the dramatic center of every moment. But the set is worth buying just for its passionate cast, which features Cecilia Bartoli, Brian Asawa, Natalie Dessay, and Sandrine Piau firing on all vocal cylinders. The biggest surprise is tenor Giuseppe Sabbatini's account of the title role. It may not be graceful but it sure is electrifying. There's only one disappointment: Mozart wrote several versions of some arias to please his star singers, and this recording leaves one hungry to hear his outtakes. --David Patrick Stearns

Mozart - Mitridate / Bartoli, Dessay, Sabbatini, Asawa, Piau, Flórez, Les talens lyriques, Rousset, Music, Wolfgang Amadeus Mozart, Christophe Rousset, Cecilia Bartoli, Natalie Dessay, Les talens lyriques, Giuseppe Sabbatini, Brian Asawa, Sandrine Piau, Juan Diego Flórez, Hélène Le Corre, Emmanuelle Haïm, Classical, Classical Music, Classical Vocals, German/Austrian Classical Period Opera, Opera, Opera/Operetta
Mozart - Mitridate / Bartoli, Dessay, Sabbatini, Asawa, Piau, Flórez, Les talens lyriques, Rousset
Average customer rating: 4.5 out of 5 stars
  • Some Brilliant Moments, but Mismatch Elsewhere.
  • a voice teacher and early music fan
  • Expected better from such a starry cast
  • Beautiful but cold
  • the best!!!
 Mozart - Mitridate / Bartoli, Dessay, Sabbatini, Asawa, Piau, Flórez, Les talens lyriques, Rousset
Wolfgang Amadeus Mozart , Christophe Rousset , Cecilia Bartoli , Natalie Dessay , Les talens lyriques , Giuseppe Sabbatini , Brian Asawa , Sandrine Piau , Juan Diego Flórez , Hélène Le Corre , and Emmanuelle Haïm
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Rousset, ChristopheRousset, Christophe | ( R ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
All Works Featuring BartoliAll Works Featuring Bartoli | Bartoli, Cecilia | A to B | Featured Performers, A-Z | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
GermanGerman | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Bartoli, CeciliaBartoli, Cecilia | Divas | Opera & Vocal | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Mozart - Idomeneo / Domingo, Bartoli, Grant Murphy, Vaness, Hampson, Terfel, Lopardo, MET, Levine
  2. Mozart - Lucio Silla / P. Schreier · Gruberova · Bartoli · Upshaw · Kenny · Harnoncourt
  3. Mozart: Ascanio in Alba / Chance, Feldman, Windsor, Rannion, Milner; Grimbert
  4. Handel: Deidamia; Il Complesso Barocco; Alan Curtis; with soloists
  5. Handel - Almira / Monoyios, Rozario, Gerrard, Fiori musicali, Lawrence-King

ASIN: B00000IIZW
Release Date: 1999-04-13

Tracks:

  1. Mitridate: Ouverture: Allegro - Andante grazio - Presto
  2. Mitridate: Atto primo - Scena 1 - Recitativo: Vieni, Signor (Arbate, Sifare)
  3. Mitridate: Atto primo - Scena 2 - Recitativo: Se a me s'unisce Arbate (Sifare, Aspasia)
  4. Mitridate: Atto primo - Scena 2 - Aria: Al destin, che la minaccia (Aspasia)
  5. Mitridate: Atto primo - Scena 3 - Recitativo accompagnato: Qual tumulto nell'alma (Sifare)
  6. Mitridate: Atto primo - Scena 3 - Aria: Soffre il mio cor con pace (Sifare)
  7. Mitridate: Atto primo - Scena 4 - Recitativo: Sin a quando, O Regina (Farnace, Aspasia)
  8. Mitridate: Atto primo - Scena 5 - Recitativo: Ferma, o germano (Sifare, Farnace, Aspasia)
  9. Mitridate: Atto primo - Scena 6 - Recitativo: All'ire freno, Principi (Sifare, Farnace)
  10. Mitridate: Atto primo - Scena 6 - Aria: L'odio nel cor frenate
  11. Mitridate: Atto primo - Scena 7 - Recitativo: Principe, che facemmo! (Farnace, Sifare, Aspasia)
  12. Mitridate: Atto primo - Scena 7 - Aria: Nel sen mi palpita (Aspasia)
  13. Mitridate: Atto primo - Scena 8 - Recitativo: Un tale addio, germano (Farnace, Sifare)
  14. Mitridate: Atto primo - Scena 8 - Aria: Nel gran cimento (Sifare)
  15. Mitridate: Atto primo - Scena 9 - Recitativo: Eccovi in un momento sconvolti (Farnace)
  16. Mitridate: Atto primo - Scena 9 - Aria: Venga pur, minacci (Farnace)
  17. Mitridate: Atto primo - Scena 10 - Mawstoso: Marcia
  18. Mitridate: Atto primo - Scena 10 - Cavata: Se di lauri il crine adorno (Mitridate)
  19. Mitridate: Atto primo - Scena 10 - Recitativo: Tu mi rivedi, Arbate (Mitridate)
  20. Mitridate: Atto primo - Scena 11 - Recitativo: Su la temuta destra (Sifare, Mitridate, Farnace)
  21. Mitridate: Atto primo - Scena 11 - Aria: In faccia all'oggetto
  22. Mitridate: Atto primo - Scena 12 - Recitativo: Teme Ismene a ragion (Mitridate)
  23. Mitridate: Atto primo - Scena 13 - Recitativo accompagnato: Respira alfin, respira (Mitridate)
  24. Mitridate: Atto primo - Scena13 - Aria: Quel ribelle e quell'ingrato (Mitridate)

Tracks:

  1. Mitridate: Atto secondo - Scena 1: Questo e l'amor, Franace - Recitativo (Farnace)
  2. Mitridate: Atto secondo - Scena 1: Va, l'error mio palesa - Aria (Farnace)
  3. Mitridate: Atto secondo - Scena 2: Perfido, ascolta - Recitativo (Mitridate)
  4. Mitridate: Atto secondo - Scena 3: eccomi a' venni tuoi - Recitativo (Aspasia, Mitridate)
  5. Mitridate: Atto secondo - Scena 4: Resprio, o Dei! - Recitativo (Aspasia, Sifare, Mitridate)
  6. Mitridate: Atto secondo - Scena 4: Tu, chefedel me sei - Aria (Mitridate)
  7. Mitridate: Atto secondo - Scena 5: Che diro? Che ascoltia? - Recitativo (Sifare, Aspasia)
  8. Mitridate: Atto secondo - Scena 6: All tua fed il padre - Recitativo
  9. Mitridate: Atto secondo - Scena 7: Oh giorno di dolre! - Recitativo (Aspasia, Sifare)
  10. Mitridate: Atto secondo - Scena 7: Non piu, Regina, oh Dio! Recitativo accompagnato (Sifare, Aspasia)
  11. Mitridate: Atto secondo - Scena 7: Lundi da te, mio bene - Aria (Sifare)
  12. Mitridate: Atto secondo - Scena 8: Crazie ai Numi parti - Recitativo accompagnnato (Aspasia)
  13. Mitridate: Atto secondo - Scena 8: Nel grave tormento - Aria (Aspasia)
  14. Mitridate: Atto secondo - Scena 9: Qui,dove la vendetta - Recitativo (Mitridate)
  15. Mitridate: Atto secondo - Scena 10: Sedete, o Prenci, e m'ascoltate - Recitativo (Mitridate, Sifare, Farnace)
  16. Mitridate: Atto secondo - Scena 11: Signor, so io - Recitativo (Mitridate, Sifare)
  17. Mitridate: Atto secondo - Scena 12: Inclita Ismene Recitativo (Mitridate)
  18. Mitridate: Atto secondo - Scena 12: So quanto a te dispiace - Aria
  19. Mitridate: Atto secondo - Scena 13: Ah, giacche son tradito - Recitativo (Franace)
  20. Mitridate: Atto secondo - Scena 13: Son reo; i'error confesso - Aria (Farnace)
  21. Mitridate: Atto secondo - Scena 14: E crederai, Signor - Recitativo (Sifare, Mitridate, Aspasia)
  22. Mitridate: Atto secondo - Scena 14: Gia di pieta me spoglio - Aria (Mitridate)
  23. Mitridate: Atto secondo - Scena 15: Sifare, per piera stringi l'acciaro - Recitativo (Asapsia, Sifare)
  24. Mitridate: Atto secondo - Scena 15: Io sposa di quel mostro - Recitativo (Aspasia, Sifare)
  25. Mitridate: Atto secondo - Scena 15: Se viver non degg'io - Duetto (Sifare, Aspasia)

Tracks:

  1. Mitridate: Atto terzo - Scena 1: Pera omai chi m'oltraggia - Recitativo (Mitridate, Aspasia)
  2. Mitridate: Atto trezzo - Scena 1: Tu sai per chi m'accese - Aria
  3. Mitridate: Atto trezzo - Scena 2: Re crudel, Re spietato - Recitativo (Aspasia, Mitridate)
  4. Mitridate: Atto trezzo - Scena 3: Mio Re, t'affretta Recitativo (Mitridate)
  5. Mitridate: Atto trezzo - Scena 3: Vado incontro al fato estremo - Aria (Mitridate):
  6. Mitridate: Atto trezzo - Scena 4: Lagrime internpestive - Recitativo (Aspasia)
  7. Mitridate: Atto trezzo - Scena 4: Ah ben ne fui presage! - Pallid'ombre, che scorgete - Recitativo accompagnato e Cavatina (Aspasia)
  8. Mitridate: Atto trezzo - Scena 5: Che fai, Regina? Recitativo (Sifare, Aspasia)
  9. Mitridate: Atto trezzo - Scena 6: Che mi val questa vita - Recitativo (Sifare)
  10. Mitridate: Atto trezzo - Scena 6: Se il regor d'ingrat sorte - Aria (Sifare)
  11. Mitridate: Atto trezzo - Scena 7: Sorte crudel, stelle inimiche - Recitativo (Farnace)
  12. Mitridate: Atto trezzo - Scena 8: Tecco i patti, o Farnace - Recitativo (Farnace)
  13. Mitridate: Atto trezzo - Scena 8: Se di regnar sei vago - Aria
  14. Mitridate: Atto trezzo - Scena 9: Vadasi... Oh cie! - Recitativo accompagnate (Farnace)
  15. Mitridate: Atto trezzo - Scena 9: Gia darli occhi il velo e tolto - Aria (Franace)
  16. Mitridate: Atto trezzo - Scena 10: Figlio,m amioco, non piu - Recitativo (Mitridate, Sifare)
  17. Mitridate: Atto trezzo - Scena 11: Ah vieni, o dolce, dell' amor mio - Recitativo (Mitridate, Aspasia, Sifare)
  18. Mitridate: Atto trezzo - Scena 12: Reo non si chiami, o Sire - Recitativo (Mitridate)
  19. Mitridate: Atto trezzo - Scena 12: Non si ceda al Campidoglio - Quintetto (Aspasia, Sifare, Farnace)

Amazon.com essential recording

This full-length opera seria--written by Mozart at age 14--has had some strong recorded exposure in the past, but this set may bring it to a broader public than ever before. Now that Handel's operas in the same genre are much more in evidence, what once might've seemed like the work of an underdeveloped dramatist is only Mozart maintaining the status quo, which is a long, expository, musically conservative first act followed by two shorter acts with much more individualistic arias, some of them exquisite and among the composer's very best. Conductor Christophe Rousset is perfect for finding the dramatic center of every moment. But the set is worth buying just for its passionate cast, which features Cecilia Bartoli, Brian Asawa, Natalie Dessay, and Sandrine Piau firing on all vocal cylinders. The biggest surprise is tenor Giuseppe Sabbatini's account of the title role. It may not be graceful but it sure is electrifying. There's only one disappointment: Mozart wrote several versions of some arias to please his star singers, and this recording leaves one hungry to hear his outtakes. --David Patrick Stearns

Customer Reviews:

4 out of 5 stars Some Brilliant Moments, but Mismatch Elsewhere........2007-02-13

This set has some bright moments, but generally speaking the performance is uneven in a sense that some of the main roles are mismatched, despite the fact that most singers perform well in this recording in terms of singing.
The best-casted singers are Sabbatini as the King Mitridate, Piau as the bride-to-be of Farnace, and Florez as the Roman Mission.
Of the other three main protagonists, Asawa and Bartoli's performances do not balance out well - the rebellious son Farnace sounded tame and obedient, while the good son Sifare sounds outrageous most of the time. The queen sung by Dessay displayed a good voice, but rather thin at places where force is needed: once senses the singer's limit in those passages more than others, as for example, Florez as the Roman mission in his only coloratura aria. The voice there sounds much more 'covered' than Dessay's.
Contrary to most views, I am convinced by Sabbatini's portrayal of the King. Unlike Mark Padmore in La Clemenza di Tito for Rene Jacobs, Sabbatini's dramatic coloraturas sit in well for this regal title role, though not as smooth-sounding and lyrical as one would normally expect in a lyrical tenor: he has the fire and the spark in his voice needed for this role.
Cecilia Bartoli's arias are too fast. While this may be viewed as demonastrative of her pyrotechniques, I do not think this is a 'plus' element to the set as a whole. If Farnace's arias are so treated, it would be much more convincing. The recitatives, on the other hand, are quite slack in pace by comparison.

5 out of 5 stars a voice teacher and early music fan.......2006-10-29

In the numerous letters exchanged from Mozart to his family there are several mentions of the opera "Mitridate" One such reference was made by Mozart in a letter written to his mother from Milan on October 20, 1770: "I cannot write much, for my fingers are aching from composing so many recitatives. Mama,I beg you to pray for me, that my opera may go well and that we may be happy together again.." As late as November 24, however, Leopold writes that Wolfgang 'has only composed one aria for the primo uomo'(Pietro Benedetti, a male soprano, who sang the part of Siface). In fact there were three castratos in the original casting for this opera:Pietro Benedetti, known as Sartorino(Siface), Guiseppe Cicognani (Farnace) and Pietro Muschietti (Arbate). The countertenor Brian Asawa sings the part of Farnace on this recording; Cecelia Bartoli (Sifare) and Helene Le Corre (Arbate). The opera was first produced in December 26, 1770,and had a great success. Mozart in a letter to his mother from Milan on January l2, 1771 states: "...The opera, God be praised, is a success, for every evening the theatre is full...." When you consider that Mozart wrote this at the age of 14 (the same age as when he wrote "Ascanio in Alba") one can only marvel at his genius!!!This recording with its excellent group of singers displays all of his genius so beautifully. The overture and accompaniments, played so well by Les Talens Lyriques, show the influence of Giovanni Sammartini, who Mozart apparently responded positively to. For they demonstrate an ebullience and energy unsurpassed in his previous operatic works.
Concerning the performance on this recording, the orchestra plays 'cleanly'and in tune, as well as stylistically correct. The Allegros are not too fast, and the Andantes not too slow! The singers are all operatic notables and sing creditably well.
I have personally have never been fond of Natalie Dessay's voice, but having said this, I must comment that her opening aria 'Al destin, che la minaccia' is outstanding technically, displaying great vocal flexibility.
Cecilia Bartoli is always magnificent with that rich, full-bodied, and intensely dramatic sound to her voice. Her role as the son of Mitridate (a 'pants' role) is a masterpiece of singing and acting.
Sabbatini, in the role of Mitridate, is also not a particular favorite of mine-I can think of a dozen tenors, Bostridge being one, that I would rather hear in this characterizaton. It seems to me that Sabbatini always overplays his part, but there are other listeners who will like this trait!
Brian Asawa, who is a countertenor (sopranist, actually), is wonderfully skilled and enjoyable in his role as 'Farnace', the elder son of Mitridate. His arias just flow forth with such ease and dramatic fervor that makes one want to hear more from him. I especially like his aria 'Venga pur, minacci'; just fabulous!
Christophe Rousset just does a great job pulling it all together.This disc, to my thinking, should bring this opera to the forefront.

3 out of 5 stars Expected better from such a starry cast.......2006-06-03

I agree with Skylim's assessment. This is an opera seria filled with wonderful arias. The thing to guard against in such a work is for the singers to take arias out of context and sing them like they might in a concert. That's precisely what happened with this production. No sense of where the story is going at all. Just a string of beautifully sung arias. Good for concert performance. Disastrous for a full opera disc!

All the singers are top-notch. Wonderful voices with wonderful techniques... and singing beautifully all the time. Even when it is wrong to sing beautifully. Pieces like Farnace's Act I aria, 'Venga pur, minacci e frema' are supposed to be menacing and not pretty! And Asawa (Gosh! I love his voice!!!) is anything BUT menacing. Better get Kasarova's Mozart Aria disc and see how this piece is supposed to sound like. Farnace is supposed to be in a towering cold rage and spewing venom here.

A lot of that going around in this recording. And Rousset set strange tempo for many arias. Some of Sifare(Bartoli)'s were too fast, and most of Farnace(Asawa)'s were too slow. Oh how draggy can 'Gia dagli occhi il velo' get? If it was any slower it would be going backward! That slow a tempo could work if the singer infects it with nuance and emotion... unfortunately neither the conductor nor the singer delivered and the aria screams for itself to be fast-forwarded after 15 seconds... if you're patient.

Seems to me only Piau (Ismene) and Dessay (Aspasia) turned in something that does Mozart justice. Juan Diego Florez is the minor character Marzio, and he is fine there. For all 3 CDs at this price.... I regret buying the thing.

The booklet contains the story of how Mozart came to write the opera, synopsis, short bio of the cast (all in English only), and libretto in English and Italian.

3 out of 5 stars Beautiful but cold.......2006-03-02

I only knew a few of the arias from this opera before listening to this recording. While the singing here is beautiful, I was left in the cold by the lack of emotion shown by many of the singers. Ever heard Kasarova sing "Venga pur"? There's nothing to match that in this recording.

5 out of 5 stars the best!!!.......2003-10-31

This opera written by 14 years old Mozart is really entertaining and fantastic. I would say this is my "personal" favorite mozart opera, along with Idomeneo. Recommended without reservation.

Music Review:

  1. Mozart: Requiem / Bonney, von Otter, Blochwitz, W. White, Gardiner
  2. Mozart: Symphonies Nos. 39 & 40
  3. Mozart: Symphony No41; Symphony No40
  4. Mussorgsky: Pictures at an Exhibition; Stravinsky: Three Dances from Petrouchka
  5. Out of Chaos
  6. Piano Concertos of the 1920s
  7. Piazzolla: Tango Ballet, Concierto Del Angel, Tres Piezas Para Orquesta De Camara / Kremer, Glorvigen, et al
  8. Prokofiev: Piano Concerto No. 5 / Sviatoslav Richter
  9. Prokofiev: Sinfonia Concertante; TchaIkovsky: Variations on a Rococo Theme; Andante Cantabile
  10. Ravel: The Complete Works for Solo Piano

Music Review

music review

Music Review

Bring Back the Beatles

Music of Shakespeare

Mozart: Eine Kleine Nachtmusik/Divertimentos

From There to Here: Greatest Hits

P.U.R.E. Dance, Vol. 1

Pilgrims

New Direction

Road Tested [Live]

Rosco's Rhythm [Import]

Mozart: Piano Concertos #9 & 18 - Leif Ove Andsnes

Memorial Album [Original recording remastered] [Import]

Lo Mejor De

Music for Ever & Ever, Vol. 2

Weber: Clarinet Concertos - Concertino

Quadromania