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Le Nozze Di Figaro 3 2 Wolfgang Amadeus Mozart (1756–1791) 1. “Solitudini amiche” – “Zeffiretti lusinghieri” 7:27 from , K. 366 Ilia Idomeneo 2. “Giunse alfin il momento” – “Deh vieni non tardar” 4:18 from , K. 492 Susanna Le nozze di Figaro 3. “In un istante” – “Parto, m’affretto” 7:12 from , K. 135 Giunia Lucio Silla 4. “L’amerò, sarò costante” 7:06 from , K. 208 Aminta Il re pastore 5. “Ach, ich fühl’s” 3:51 from , K. 620 Pamina Die Zauberflöte 6. “Ruhe sanft, mein holdes Leben” 5:57 from , K. 344 Zaide Zaide 7. “Un moto di gioia”, K. 579 3:48 Insertion aria for Le nozze di Figaro 8. “Amoretti” 4:33 from , K. 51 Rosina La finta semplice 9. “Ah se in ciel, benigne stelle”, K. 538 7:31 Total time 51:49 3 Regula Mühlemann soprano / Sopran Kammerorchester Basel Umberto Benedetti Michelangeli conductor / Dirigent Kammerorchester Basel Isabelle Schnöller, Regula Bernath flute / Flöte Matthias Müller, Irmgard Zavelberg, Matthias Arter oboe / Oboe (solo, No 6) Mathias Weibel, Regula Schaer 1st violin / Violinen 1 Francesco Capraro oboe / Oboe Valentina Giusti, Nina Candik, Markus Niederhauser, Guido Stier clarinet / Klarinette Regula Keller, Rita Nakad 2nd violin / Violinen 2 Matthias Bühlmann, Claudio Matteo Severi bassoon / Fagott Bodo Friedrich, Stefano Mariani, Carlos Vallés García viola / Viola Konstantin Timokhine, Dmytro Taran horn / Horn Martin Zeller, Georg Dettweiler violoncello / Violoncello Stefano Barneschi 1st violin / Violine 1 (solo, No 4) Daniel Szomor, Peter Pudil Double bass / Kontrabass Recorded at Riehen, Switzerland (Landgasthof), February 4–7, 2020 This production is supported by the Executive Producers: Christoph Müller, Marcel Falk, Freundeskreis Kammerorchester Basel / Michael Brüggemann (Sony Classical) Diese Produktion wird unterstützt durch den Recording Producer & Sound Engineer: Jakob Händel Freundeskreis Kammerorchester Basel Editing / Mixing / Mastering: Jakob Händel www.regulamuehlemann.com · www.kammerorchesterbasel.ch Photos E Guido Werner (Mühlemann), Lukasz Rajchert (Orchestra), www.sonyclassical.com · www.sonyclassical.de Tomaso Wührer (Benedetti) · Artwork: [ec:ko] communications e & E 2020 Sony Music Entertainment Germany GmbH 4 5 From the start of his Grand Tour in 1763 to the first performances of Die Zauberflöte in 1791, Mozart had to deal constantly with prima donnas: with famous enchanting palace garden. It was here that she sang “Zeffiretti sopranos like Anna de Amicis, with local celebrities such as lusinghieri”, an affecting grazioso preceded by a dreamy Aloysia Lange, with experienced divas like Dorothea Wendling and accompanied recitative. Mozart enveloped the singer’s mature with beginners like Nanette Gottlieb. For each he tailored voice in youthfully innocent textures made up of con sordino particular arias – a sort of haute couture of the art of singing in strings and clarinets in B. And he ornamented the beautiful keeping with his motto “I like an aria to fit a singer as perfectly as melody, with its minuet rhythm, with gossamer-like scales, a well-made suit of clothes,” as he told his father in a letter written creating a wonderful image of the caressing breezes from the west from Mannheim on 28 February 1778. The most demanding that Ilia bids bear her greetings to her lover. sopranos set great store by the need to adapt every coloratura Susanna finds herself in a similar position in Act Four of Le flourish and every cantabile phrase to suit their own vocal profile. nozze di Figaro. Here, too, our heroine longs for her bridegroom, For the present recording, Regula Mühlemann has chosen nine and once again Mozart has written an enchantingly beautiful aria particularly splendid specimens of Mozart’s fashion line in arias. for her that involves nature imagery. Over a pizzicato accom - Strangely enough, we do not know who designed the costumes paniment in the strings, the flute, oboe and bassoon intone a for the first performances of Idomeneo at the Cuvilliés Theatre in delightful siciliano melody to create a nocturnal serenade. The Munich in January 1781. No costume designer is credited in the part was written for Nancy Storace, the Burgtheater’s prima buffa, libretto that was printed for Mozart’s “grand Munich opera”, so we whose voice was neither tender nor beautiful. However, the do not know what costume the prima donna Dorothea Wendling London-born soprano had the ability to mimic her colleagues’ wore as the young Trojan princess Ilia at the start of Act Three. We singing to perfection. As we know from the plot, Susanna and the know only the aria that Mozart tailored to her voice, performing Countess exchange clothes before this scene, with the result that the minor miracle of transforming a mature forty-four-year-old Nancy Storace was able to step into the vocal shoes of Luigi Laschi, prima donna whose voice was no longer in its prime into a young who was playing the part of the Countess: the change of clothes woman who has fallen in love for the first time. The sets for this was not just sartorial but musical, too. scene were designed by Lorenzo Quaglio and represented an 6 Anna de Amicis was the most virtuosic coloratura soprano for had just returned to Italy from Munich. According to the opera whom Mozart ever wrote. The two first met in a hotel in Mainz in connoisseur Benedetto Frizzi of Trieste, Tommaso Consoli was “a August 1763, when Mozart was seven and De Amicis was soprano of rare beauty, who sang especially well with a powerful eighteen. She was returning to Italy from London, where Johann and brilliant voice but unfortunately for only a short time. Without Christian Bach had offered her an engagement as prima donna at exception he had at his command all that constitutes true the King’s Theatre, whereas the Mozarts were still at the start of perfection in singing.” Consoli was obliged to end his dazzling their Grand Tour of Western Europe. Their paths crossed again in career following an accident onstage in Genoa in 1784. Nine years 1770, when the Mozarts attended the world premiere of Jommelli’s earlier Mozart had already glimpsed what Consoli was capable of: Armida abbandonata in the vast Teatro San Carlo in Naples. De in April 1775 the castrato sang the role of Aminta in Il re pastore Amicis enjoyed one of the greatest triumphs of her career in the in Salzburg. In the ravishing rondeau “L’amerò, sarò costante” insanely difficult aria “Odio, furor, dispetto”, which left such a deep Consoli’s soprano voice and Mozart’s solo violin blended together impression on Mozart that two years later he modelled the aria to create an intimate dialogue. The affinity between this aria and “Parto, m’affretto” in Lucio Silla on Jommelli’s bravura display the violin concertos that Mozart wrote this same year is impossible vehicle: note, in particular, the insane violin figures, the disjointed to overlook. vocal line and the staccato divisions in the singer’s highest In the case of his German Singspiel Mozart was not always able register, divisions that pass into breath-taking triplets. On 26 to work with first-class singers. In 1791, he wrote the role of December 1772, De Amicis stood alone on the enormous stage of Pamina in Die Zauberflöte for Maria Anna (“Nanette”) Gottlieb, who the Regio Ducal Teatro in Milan, where the sets by Fabrizio Galliari was only seventeen at the time. She was the daughter of two represented a fantastically beautiful garden. Here she transformed Viennese actors and had a relatively small voice. In 1806, by which Mozart’s aria into the image of a desperate woman on the brink of date she was thirty-two, Joseph Carl Rosenbaum noted in his diary a mental and physical breakdown. In order to save her lover that when she sang one of her signature roles at the Theater in der Cecilio from certain death, Giunia has to throw herself at the feet Leopoldstadt, she still had “very little voice” and was “barely of the dictator Sulla on the Capitol, but an inner voice holds her audible”. She had been only twelve when she created the role of back. Her costumes were designed by Francesco Motta and Barbarina in Mozart’s Le nozze di Figaro. There is a direct link Giovanni Mazza, who created a suitably fashionable dress for the between Barbarina’s touching F minor cavatina in the fourth act of singer to wear as she performed Mozart’s glittering aria. the opera and Pamina’s great G minor aria, “Ach ich fühl’s, es ist When Anna de Amicis appeared onstage for the last time in verschwunden”. Mozart did not conduct this aria as a broad Forlì in 1779, the cast also included a brilliant young castrato who Adagio with long sostenuto lines, as we mostly hear today, but as 7 a relatively brisk Andante. This is attested by Georg Nikolaus von a little waltz song, “Un moto di gioia”. Here Mozart uses the rhythm Nissen, Constanze Mozart’s second husband: “Pamina’s aria not of a Deutscher that was becoming popular at this time and that infrequently bores its audience because it is taken at the wrong was the ancestor of the waltz. He had some doubts, however, as to speed, and the slowest possible Andante becomes almost an whether his prima donna would be able to master the light tone Adagio. […] Mozart wanted to paint a portrait of a gentle young needed: “The little aria that I wrote for La Ferraresi [sic] will be a woman and completed his portrait in the most admirable way. Her success, I think, provided she’s capable of singing it in an artless vocal line is gently flowing and is more like declamation set to manner, which I very much doubt.
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