180 Days With Mozart And Me

A Survey Of The Philips Complete Mozart Edition…From Symphonies Through Theatre And Ballet Music

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Entries from May 30th, 2010

Of Sherlock Holmes and Il Seraglio (German Operas, Box 16)

May 30th, 2010 · No Comments · Billy Wilder, Box 16: German Operas, Die Entfuhrung Aus Dem Serail, K384, K384 (Part II), Mozart at 26, Private Life of Sherlock Holmes, Sherlock Holmes, Singspiel, Vienna (May 29 1782)

Tonight, we’re watching another Billy Wilder film – The Private Life of Sherlock Holmes (1970). I’ve never seen this particular Wilder film. But I’m hoping it’s as good as some of his other classics, for example: Some Like it Hot, Sunset Boulevard, Stalag 17, Double Indemnity, and The Apartment. As for today’s Mozart opera, it’s [...]

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Of Christiane Eda-Pierre. Period. (German Operas, Box 16)

May 30th, 2010 · No Comments · Box 16: German Operas, Christiane Eda-Pierre, Mozart at 24, Vienna (May 29 1782)

The recording of this opera has a lot going for it, not least of which is the music is played by The Academy of St.-Martin-in-the-Fields. That, automatically, gives it a feel and sound that grabs me. I don’t think I’ve yet heard a recording by the Academy that I didn’t like. Another plus for this [...]

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Of Bike Rides and Reconstructed Songs (German Operas, Box 16)

May 29th, 2010 · No Comments · Box 16: German Operas, Erik Smith, K344 (Part II), Mozart at 23, Mozart at 24, Reconstruction by Erik Smith, Salzburg (1779-80), Zaide, Zaide (Part II)

My wife and I took a long bike ride today. We were out about three hours, with a stop for lunch along the way. I loved it, although I got more sun than I probably should have. Still, this is what summer is all about. And I have to enjoy it while I can. I [...]

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Of Unusual Occupations and Unfinished Operas (German Operas, Box 16)

May 28th, 2010 · No Comments · Allazim, Armin Ude, Bernhard Klee, Box 16: German Operas, Drei Sklaven, Edith Mathis, Gomatz, Gunther Koch, Ingvar Wixell, Joachime Vogt, K344, K344 (Part I), Mozart at 23, Mozart at 24, Osmin, Peter Schreier, Reiner Suss, Salzburg (1779-80), Staatskapelle Berlin, Sultan Soliman, Vorsanger, Walter Weih, Werner Hollweg, Wolfgang Wagner, Zaide

I like watching old movies, the really old black and whites, and seeing the occupations people had back then. Jobs like elevator operator, soda jerk, gas-station attendant, and switchboard operator. Today, those jobs seem archaic. And unnecessary. But I’m sure many jobs today will seem that way in 20 years. If there are any jobs [...]

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Of Tater Tots and… (German Operas, Box 16)

May 27th, 2010 · No Comments · Box 16: German Operas, Die Gartnerin aus Liebe, Die Gartnerin aus Liebe (Part III), K196, K196 (Part III), Mozart at 24, Munich (May 1 1789), Tater Tots

When I was growing up, there was something about tater tots that gave me the heebie jeebies. Don’t ask me to explain it. I can’t. I had the same reaction to Brussels sprouts – an instant disliking for their texture, taste, and smell. Now, Brussels sprouts I’m sure everyone can understand. But tater tots? They’re [...]

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Of Sheer Monotony. Period. (German Operas, Box 16)

May 26th, 2010 · No Comments · Box 16: German Operas, Die Gartnerin aus Liebe, Die Gartnerin aus Liebe (Part II), K196 (Part II), Mozart at 24, Munich (May 1 1789)

Part Two is no better than Part One. Just as I’m sure Part Three will be no better than the previous two. What was Mozart thinking when he re-worked La finta giardiniera (“The Pretend Garden-Girl”), K.196, an Italian opera, into Die Gartnerin aus Liebe, K196, a German opera? It didn’t improve by changing the language, [...]

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Of Relaxation and Retreads (German Operas, Box 16)

May 25th, 2010 · No Comments · Box 16: German Operas, Die Gartnerin aus Liebe, K196, K196 (Part I), La finta giardiniera (re-worked), Mozart at 24, Munich (May 1 1789)

Man, what a let down this opera is. Yesterday’s opera (Bastien und Bastienne, K50) was a pleasant surprise. Today’s opera (Die Gartnerin aus Liebe, K196) sounds like dialogue from a World War II movie set to nondescript music. It’s dreadful. According to its entry on Wikipedia: In 1780 Mozart converted the opera – La finta [...]

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Of Beginnings and Boy Choirs (German Operas, Box 16)

May 24th, 2010 · No Comments · Bastien, Bastienne, Box 16: German Operas, Colas, David Busch, Dominik Orieschnig, Ernst Wurdinger, Georg Nigl, K50, LOST, Mozart at 12, Mozart at 23, Mozart at 24, Uwe Christian Harrer, Vienna (Summer 1768), Wiener Symphoniker

I really needed this opera today. List night’s series finale of LOST left at least four dozen unanswered questions hanging in the air. And I’m not succumbing to hyperbole here. I just listed in an e-mail to a friend about four dozen questions that received no answer last night – despite the fact that the [...]

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Of Endings and Endings (Box 15, Late Italian Operas)

May 23rd, 2010 · No Comments · Box 15: Late Italian Operas, Chorus of the Royal Opera House Covent Garden, Frederica von Stade, K621, K621 (Part II), La clemenza di Tito, La clemenza di Tito (Part II), Lucia Popp, Stuart Burrows

I’m glad today’s CD is the last of the two-part opera La clemenza di Tito, K621, written by Mozart when he was 35 – just a few short months before his untimely demise. Today’s CD, 11 of 11, finishes the box of Mozart’s Late Italian Operas. Tomorrow starts a brand-new box of CDs: German Operas, [...]

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Of Anticipated Saturdays and Underappreciated Operas (Box 15, Late Italian Operas)

May 22nd, 2010 · No Comments · Annio, Box 15: Late Italian Operas, Charles Taylor, Frederica von Stade, Frederick Lowe, Ian Herbert, Janet Baker, John Constable, K621, K621 (Part I), La clemenza di Tito, Lucia Popp, Mozart at 35, Orchestra & Chorus of the Royal Opera House Covent Garden, Prague (September 4 1791), Publio, Robert Lloyd, Robin Stapleton, Servilia, Sesto, Sir Colin Davis, Stuart Burrows, Tito Vespaisano, Vitellia, Yvonne Minton

Today’s opera is La clemenza di Tio, K621, written by Mozart when he was 35, just a couple of months before his death. The Overture is compelling. It sets the stage nicely. But what follows doesn’t match the standard set in the Overture. This is a typical opera. Nothing fancy. Nothing different from nearly every [...]

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