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Subject: Re: Recorded arias that are supreme historic examples of Mozart singing?
From: Andrew Moravcsik <[log in to unmask]>
Reply-To:Andrew Moravcsik <[log in to unmask]>
Date:Fri, 23 Sep 2016 10:59:29 +0000
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Could go on a long time on this: 
 
I almost never disagree with David, and I so like Steber as Konstanze. But for "Traurigkeit," very different than the other numbers in that opera, has it ever been sung better than by Margherita Perras? A uniquely dark sound, so sad, but the smooth emission of 1930s German singers (she was Greek but sang in Germany). She is different than anyone else, and yet now defines the real emotional depth and pathos I look for (and never find) in a Konstanze. Now that's a woman I would travel to Turkey (in a boat) to save. 
 
For me, Alexander Kipnis is the ONLY Sarastro, end of story. 
 
For the Clemenza mezzo arias, I always go back to Janet Baker, for her combination of aristocratic elegance and impeccable taste. But perhaps there are others...Troyanos? 
 
Andy Moravcsik 
Princeton, NJ 
 
 
-----Original Message----- 
From: Discussion of opera and related issues [mailto:[log in to unmask]] On Behalf Of David Shengold 
Sent: Friday, September 23, 2016 1:03 AM 
To: [log in to unmask] 
Subject: Re: Recorded arias that are supreme historic examples of Mozart singing? 
 
Many valid  suggestions have already been made. 
 
I am not sure I've heard a better "Traurigkeit" than Eleanor Steber's, or a better  
"Al destin, che la minaccia" (from MITRIDATE) than Auger's. For IDOMENEO's "Idol mio" I'd turn to Margaret Price; for Ilia's arias to Sena Jurinac on the early Glyndebourne excerpts disc led by Busch. For the concert aria "Popoli di Tessaglia", Edda Moser. 
 
 
Best- David Shengold 
 
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