Te Deum the opera Otto Klemperer a cerna Teco .....

Otto Klemperer has always had a special relationship with the Salzburg master, his recordings of symphonies with the Philharmonia Orchestra London are of high rank interpretatorschen because Klemperer similar to a Leibowitz which expelled consistently advanced romanticizing in the 19th century and by conductors such as Böhm, he created an unflinching a true Mozart no-received composers. So he ventured to consult with the operas. After an excellent Zauberflöte with Lucia Popp as Queen of the Night, he came with his "walks" in Mozart's Don Giovanni for the country, the best Wwerk the composer and put a recording of Don Giovanni before who überagt everyone else, because they at Mozart's intentions Don Giovanni is next kommt.Der the portrait of a sadistic Sexprotzes without Rückischt to the other people and the emerging in feudal conventions What makes this recording so extraordinary. For next time the tempos. Klemperer selects very slow tempos, Klemperer takes 25 minutes longer than other performers which initially baffled and surprised, because otherwise at Mozart Klemperer was never known for Langsamkeitsorgien but his symphony recordings are drawn by a flowing tempo. What led me to believe that Klemperer want as a listener to show me something. Even in the overture, it sounds as if Mozart has risen from the dead and as a demon at Klemperer took possession hat.Klemperers strength was that he could be incubi with him the composer that he slavishly submitted to the composer that he not only interpretive Subjektivtät occurred, a Dizsonanz in Mozart sounds just like a Dizsonanz about Schoenberg or Stockahusen. Mozart has just written Disonanzen as a heavy metal band, the smoothing and glossing over this composer as do almost all not only wrong but just when Don Giovanni played totally against the music (especially Böhm, Luisi and Harding are nenen) Dissonant and full of toughness so the D minor shocks are realized. No one else has done played the slow part with so much drama and severity to almost perfect, like Klemperer, the transition to the major part succeeds (Can today's conductors actually transitions). Every detail is seated. If you have the murder of the Commendatore ever even heard so brutal as murder. It's the duet Don Giovanni Zerlina ever so an ambiguity exists sound the champagne aria ever so precise, the polyrhythms and polymetric in the finale of the first act was carried audibly zelibriert the purposes Hanslick ever so severely beaten Masetto, the cemetery sounded so dark so menacing. that feasting so opulent that Komturszene so majstätisch. What did he do in the scene is perhaps the most brilliant that had ever conjured a Dirigient on record. One should certainly be careful with superlatives but Klemperer sets the benchmark in Mozart. Vocally, also thanks to the tip is for me the best Don Giovanni Nicolai Ghiaurov he is by far the most powerful Don the world has ever seen on record. He is a true libertine, a man of power Renaissannce a great achievement: Berry is Lepoerello, manage the Viennese baritone of the Interpret the ladies Rige is good to very good for the servant of the Lord. About the exellente orchestra needs to lose no words