CD 1
WOLFGANG AMADEUS MOZART
Le nozze di Figaro, KV 492:
Non so più cosa son, cosa faccio
Voi che sapete
La clemenza di Tito, KV 621:
Parto, ma tu ben mio
Così fan tutte, KV 588:
Temerari! Sortite! … Come scoglio!
E amore un ladroncello
Ei parte … Per pietà
Ch’io mi scordi di te, KV 505
London Symphony Orchestra
John Pritchard
Ombra felice … Io te lascio, KV 255
Misero me … Misero pargoletto, KV 77
Giunse alfin il momento … Al desio, di chi t’adora, KV 577
Se ardire, e speranza, KV 82
Conservatevi fedele, KV 23
Wiener Kammerorchester
György Fischer
CD 2
CHRISTOPH WILLIBALD GLUCK
Orfeo ed Euridice:
Che farò senza Euridice?
Che puro ciel, che chiaro sol
Alceste: Divinités du Styx
Paride ed Elena: O del mio dolce ardor
GIOVANNI BATTISTA PERGOLESI
La Serva Padrona: Stizzoso, mio Stizzoso
GEORGE FRIDERIC HANDEL
Giulio Cesare: Piangerò la sorte mia
GIOVANNI PAISIELLO
Nina, o sia la Pazza per Amore: Il mio ben quando verrà
LUIGI CHERUBINI
Medea: Medea! O Medea! … Solo un pianto
Orchestra of the Royal Opera House, Covent Garden
Alexander Gibson
FRANZ JOSEPH HAYDN
Arianna a Naxos – Cantata, Hob.XXVIb:2
Félix Lavilla, piano
Teresa Berganza, mezzo-soprano
Recording Producers: Christopher Raeburn (Mozart, Haydn); Michael Bremner (Gluck, Pergolesi, Handel, Paisiello, Cherubini)
Balance Engineers: Kenneth Wilkinson, Michael Mailes (Mozart/Pritchard); James Lock, Simon Eadon (Mozart/Fischer); Alan Abel, Cyril Windebank (Gluck, Pergolesi, Handel, Paisiello, Cherubini); James Lock (Haydn)
Recording Locations: Kingsway Hall, London, UK, 15, 18, 20 & 21 December 1962 (Mozart/Pritchard), 8–11 June 1960 (Gluck, Pergolesi, Handel, Paisiello, Cherubini); Sofiensaal, Vienna, Austria, 26–27 May 1977 (Haydn), 3–9 January 1981 (Mozart/Fischer)
Remastering Engineer: Chris Bernauer
Original Decca LP Releases: SXL 6045 (Mozart/Pritchard); OS 26663 (Mozart/Fischer); SXL 2251 (‘Arias of the 18th Century’: Gluck, Pergolesi, Handel, Paisiello, Cherubini); 414 612-1 (Haydn)
‘The Berganza voice […] is surely one of the loveliest and most flexible to come along since the war. Here she gives evidence of a very firm grip on classical style … ‘O del mio dolce ardor’ […] is spun forth with great tranquillity: the vocal texture, the relaxed but never slack attack, are exactly right.’ High Fidelity (Eighteenth-century Portraits)
‘In Berganza’s work there are no stylistic mannerisms. She tears into the music like a violinist launching a cadenza, and her extraordinary gifts make it all the more natural sounding, giving her temperament its extroverted way… Cherubino’s songs are done to a turn.’ High Fidelity (Mozart Arias)
‘This has always been one of Teresa Berganza’s most attractive records.’ Opera (Mozart arias)