Search - Marcello Cortis, Mariano Stabile, Wolfgang Amadeus Mozart :: Mozart: Cosė fan tutte

Mozart: Così fan tutte
Marcello Cortis, Mariano Stabile, Wolfgang Amadeus Mozart
Mozart: Cosė fan tutte
Genre: Classical
 
  •  Track Listings (18) - Disc #1
  •  Track Listings (18) - Disc #2


      
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CD Reviews

A CD that sounds like an old record
Maurice | Ireland | 02/01/2000
(2 out of 5 stars)

"A word of warning. This is a mono recording of truly dreadful quality. As the overture began, I thouhgt I was listening to an old amd much-used LP (how, I wonder was the transfer done? ) The two stars I have it reflects ONLY the historic value of hearing some good voices."
TWO STARS FOR TWO GREAT ARTISTS
Stefano Tonelli | MILANO Italy | 05/15/2000
(2 out of 5 stars)

"When I saw this "Così fan tutte" on sale, I immediately bought it. I'm deeply fond of Simionato's and Stabile's singing. I think that Giulietta Simionato has been the greatest mezzosoprano in the second part of XX century, together with Fedora Barbieri and Fiorenza Cossotto; she was ideal for roles that ranged from Fidalma to Santuzza (last Friday the 12th of May 2000 has been her 90th birthday!). Mariano Stabile was the "Falstaff of Toscanini" from 1921 (the Maestro gave him a dedication on a photo: "all'intelligente interprete del Falstaff"), he didn't have a very loud voice or a beautiful timbre, but he was a subtle, acute and fine interpreter (listen to Stabile's Prosdocimo, in "Il Turco in Italia" with Maria Callas and Nicola Rossi-Lemeni).So I was curious to listen to these great artists in this Mozart's opera: I can't say that they deluded me, they are - in my opinion - the only interest of this "Così". Suzanne Danco's voice is a little bit light for Fiordiligi, moreover the French soprano doesn't show true interpretative qualities. Libero De Luca (Ferrando), Marcello Cortis (Guglielmo) and Marisa Morel (Despina) simply don't exist. Böhm just accompaines the soloists without any idea or any inspiration about this opera, and conducts an orchestra and a chorus of almost amateurs players and singers (the first chorus "Bella vita militar" is completely and incredibly out of time).There are a lot of cuts, not only in the recitatives: Dorabella's aria "E' amore un ladroncello" and Ferrando's aria "Tradito, schernito", both in Act Two, are omitted. The quality of the recording is absolutely and ridiculously amateurish.In conclusion, this "Così" wouldn't be worth to be considered at all if there weren't Simionato and Stabile. My two stars are only for them."