Mozart against the grain

Now she is so because: The so long awaited and laurels of the trade press with (pre-financing) provided Currentzis recording of Figaro, who are the two other Da Ponte operas Don Giovanni and Così fan tutte follow within a year.
As might be expected, the Maestro also engages here with his Siberian Orchestra troupe as his Requiem recording, again energetically-rhythmic, sometimes almost rough and brutal to the Mozartian sounds too: mainly rapid tempos, sometimes close to the limit of what is technically feasible short torn phrases conclusions, wild scrubbing strings and thundering drums and trumpets. Here a Aristrokratenehepaar a defiant Footman to guitar sounds against his employer goes live without distanced Adelsattitüde's throats, rebelling, lived through a pubescent boy, the anguish of his existence (and tears at his window jump acoustically half count's castle with a). In the truest sense a great day. The subdued moments seem as however, somehow does not fit into the overall concept and stand technically out with related relied on the microphone voices from the sound.
The orchestra plays squeaky clean and copes him drawn up by conductors racing hurdles with flying colors (woodwind in the overture!). The vocal ensemble is consistently staffed with youthful sounding voices. Even in the games of Marcellina and Basilio, who are in the performance practice usually staffed by veterans and be able to present all too often crossed Capra Capretta and Eselshaut arias here. Both couples Conte / Contessa and Figaro / Susanna, are each other vocally equal and shine with a fiery, emotional and vocally perfect interpreting their roles.
The recording technique corresponds to today's standards, with a broad spectrum of sound and high dynamics. She comes to meet the demands of the conductor by itself reproduces the finest details within the orchestral sound, even in the more complex sound passages. Initially a bit irritating, slight chorus echoes in the solo voices, which thereby appear somewhat unfocused.
An interesting and exciting interpretation, however, which requires to refrain from traditional listening habits farewell.
The kartonierte precious edition of this recording consists of a comprehensive booklet with cast notes of singers and orchestra, the individual CDs tracklists, the usual conductor comments and estate-related essays and complete libretto, all four languages. When you first open this thick booklet you can hear the crackling of the suspicious side binding, the suggesting that it eventually dissolves into its components after repeated applications. The last three pages consist of the so typical for Sony disc pockets where the CDs are squeezed and only touch on the edge, including fingerprints, can be removed.