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LM 7414
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LM 7414

Harry Blech conducts Mozart: Zaide

The Classical Shop
release date: September 2009

Originally recorded in 2009

Artists:

London Mozart Players


Harry Blech


Bruce Boyce

bass - Allazim

Owen Brannigan

bass - Osmin

Gre Brouwenstijn

soprano - Zaide

Peter Pears

tenor - Gomatz

Alistair Young

tenor - Sultan Soliman

Lloyd Strauss-Smith

Zaram (speaking role)

Venue:

Royal Festival Hall, London



Record Label
MP Live

Genre:

Opera


Orchestral & Concertos

Total Time - 84:03
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THIS PRODUCT IS CURRENTLY ONLY AVAILABLE AS AN MP3
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WOLFGANG AMEDEUS MOZART

(1756-1791)
   
 

Zaide

90:33  
1 Overture 8:22
2 Act I: Bruder, lasst uns lustig sein 2:19
3 Unerforschliche Fugung 2:19
4 Ruhe sanft, mein holdes Leben 7:15
5 Rase, Schicksal, wute immer 6:35
6 Herr und Freund! 3:51
7 Nur mutig, mein Herze 4:28
8 O selige Wonne! 7:00
9 Act II: Recit Saide entflohen! 4:43
10 Aria: Der stolze Low 4:38
11 We hungrig bei der tafel sitzt 3:14
12 Ich bin so bos' als gut 5:24
13 Trostlos schluchzet Philomele 9:08
14 Tiger! Wetze nur die klauen 4:34
15 Ihr Machtigen seht ungeruhrt 4:44
16 Freundin! Stille deine Tranen 5:29
   
 Gre Brouwenstijn soprano - Zaide
 Peter Pears tenor - Gomatz
 Bruce Boyce bass - Allazim
 Alistair Young tenor - Sultan Soliman
 Owen Brannigan bass - Osmin
 Lloyd Strauss-Smith Zaram (speaking role)
 Harry Blech
  Originally recorded in 1952  


The singspiel that Mozart started to write at the age of 24 but never finished has gained highly contemporary resonance through the work of such modern stage directors as Peter Sellars, who have seen in its hoary plot a potentially and provocatively explosive encounter between East and West. Such an encounter Mozart would go on to refine considerably in his singspiel Die Entführung aus dem Serail, composed after Mozart showed his workings on Zaide to the Viennese impressario Gottlob Stephanie. Meanwhile we are left with two acts full of music but lacking the linking recitatives or dialogue that would supply a narrative - and an Act 3 that would supply a resolution (and presumably a happy ending).

That would all be in the future: meanwhile, however, the imprisoned Zaide, the comically villainous Pasha and her noble Christian rescuer have plenty of fine music. Most notable perhaps is Zaide’s long demanding aria, ’Ruhe sanft, mein holdes Leben’, a spiritual counterpart to the showpieces accorded to Constanze or Fiordiligi in later works. It comes over undimmed by the passage of time thanks to the communicative powers of Gré Brouwenstijn, who represents luxury casting for a work regarded at the time as slight and hardly more exalted over the course of the intervening half century and more. The efforts of Sellers, Blech, Brouwenstijn and others may hopefully changed that.

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