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Subject: Heavenly, albeit less than unimpeachable Mozart singing
From: Jason Victor Serinus <[log in to unmask]>
Reply-To:Jason Victor Serinus <[log in to unmask]>
Date:Sat, 24 Sep 2016 00:02:38 -0700

text/plain (56 lines)

Notions of "correct" Mozart style have changed over the last 65 years. For
a few interpretations that might cause some musicologists to shudder, but
to my mind are so musically and emotionally satisfying as to call rigid
rules into question, I suggest:
Tiana Lemnitz, the Nazi counterpart to the Jewish Lotte Schöne, singing
"Ach, ich fühl's" under Sir Thomas Beecham
Conchita Supervia singing "Non so più" and "Voi che sapete"
Elisabeth Schumann singing "Venite, inginocchiatevi"
Richard Tauber singing "Dies Bildnis" and "Il mio tesoro"
Elisabeth Schwarzkopf's "Abendempfindung" with Gerald Moore, which is very
different from her contemporaneous faster, more strict time rendition with
Beverly Sills' Köln and live Tanglewood recordings of "Ruhe sanft, mein
holdes Leben"
Irmgaard Seefried singing Susanna

While I haven't heard them in a long time, two favorite concert aria
recordings are the unpublished "Ch'io mi scordi di te"...Non temer, amato
bene" by Schwarzkopf and "Vorrei spiegarvi, oh Dio" by Kathleen Battle.

In another category entirely are the frightening renditions of "Der Hölle
Rache" by Florence Foster Jenkins and Maria Galvany.

I'd love to learn other people's favorite "transcendent / glorious but
'incorrect'" and "beyond the pall" Mozart recordings.

Jason Victor Serinus     Whistler
Extraordinaire: **The Voice of Woodstock • The Pavarotti of Pucker**
Music and audiophile critic: Seattle Times, Port Townsend Leader,
Stereophile, Listen, San Francisco Classical Voice, Bay Area Reporter, Gay
City News, American Record Guide, Classical Voice North America, Stanford
Live, Opera Now, Copper, and more

"Neutrality helps the oppressor, never the victim. Silence encourages the
tormentor, never the tormented.” — Elie Wiesel

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