Idomeneo, rè di Creta, opera, K. 366: No. 29 Recitativo & No. 29a Aria: "Oh smania! Oh F
- No. 29 Recitativo & No. 29a Aria: "Oh smania! Oh Furie! ... D'Oreste, d'Aiace" (06:41)
La clemenza di Tito, opera, K. 621: No. 2 Aria: "Deh, se piacer mi vuoi"
- No. 2 Aria: "Deh, se piacer mi vuoi" (05:35)
Le nozze di Figaro (The Marriage of Figaro), opera, K. 492
- No. 11 Cavatina: "Porgi, amor, qualche ristoro" (03:55)
- No. 20 Recitativo ed Aria: "E Susanna non vien! ... Dove sono i bei momenti" (06:52)
Don Giovanni, opera, K. 527: No. 21b Recitativo accompagnato ed Aria: "In quali
- No. 21b Recitativo accompagnato ed Aria: "In quali eccessi, o Numi ... Mi tradi quell'alma ingrata" (06:28)
Idomeneo, rè di Creta, opera, K. 366: Recitativo & No. 19 Aria: "Solitudini amiche ... Z
- Recitativo & No. 19 Aria: "Solitudini amiche ... Zeffiretti lusinghieri" (06:58)
La clemenza di Tito, opera, K. 621: No. 22 Recitativo accompagnato & No. 23 Rondo: "Ec
- No. 22 Recitativo accompagnato & No. 23 Rondo: "Ecco il punto, o Vitellia ... Non più di fiori" (09:49)
- Bella mia fiamma, addio!...Resta, o cara!, recitative and aria for soprano & orchestra, K. 528 (10:19)
German soprano Dorothea Röschmann has been a staple of Mozart performances in Germany and Austria. When you first hear her voice in one of the Mozart standards -- sample "Porgi, amor, qualche ristoro" from "The Marriage of Figaro" (track 3) -- it sounds like something has misfired, and that you'd rather hear the singer in the likes of Mahler (whom she has also sung a good deal). If you are looking for creamy Mozart singing, look elsewhere; Röschmann has a dark sound, with a bit of mud to it. But put the aria in context, as you would when hearing an entire opera, and Röschmann begins to make a great deal more sense: dramatic sense. She falls toward the actress end of the singer-actress spectrum, certainly, but she's capable of quiet high notes that will give you a chill because they express the nature of the character involved, tragic or comic. Röschmann offers a short program with a pair of arias from "Idomeneo, K. 366," and a pair from "La Clemenza di Tito, K. 621," plus the scene "Bella mia fiamma, addio!, K. 528." None of these is an orthodox choice, and all fit her powerful voice. The Swedish Radio Symphony under Daniel Harding provides sensitive support, and it's also significant that the graphics really invite you in to find out what is going on here. This is fresh Mozart indeed, from a singer emerging as an international star.