Katalógové číslo:
4867186
Autori:
Wolfgang Amadeus Mozart
Vydavateľ:
DEUTSCHE GRAMMOPHON
Dátum vydania: 5.9.2025
Andrè Schuen (baritone), Daniel Heide (fortepiano, piano), Nikola Hillebrand (soprano), Avi Avital (mandolin)
Mozarteum Orchestra Salzburg, Roberto González-Monjas
1
Le nozze di Figaro, K. 492 (Original Version)
2
N. 10. Aria: »Non più andrai, farfallone amoroso« (Act 1)
3
N. 27. Recitativo ed aria »Tutto è disposto ›Oh Susanna, Susanna, quanta pena mi costi!‹ (Act 4)
4
N. 27. Recitativo ed aria ›Tutto è disposto ‹Oh Susanna, Susanna, quanta pena mi costi!« (Act 4)
5
Abendempfindung, K. 523
6
Mentre ti lascio, oh figlia, K.513
7
Original Version
8
Die ihr des unermesslichen Weltalls Schöpfer ehrt, K. 619
9
Die Zauberflöte, K. 620 (Original Version)
10
Bei Männern, welche Liebe fühlen Pamina, Papageno (Act 1)
11
Der Vogelfänger bin ich ja...He da! (Act 1)
12
Don Giovanni, K. 527 (Original Version)
13
No. 4 Aria: »Madamina, il catalogo è questo« (Act 1)
14
Rivolgete a lui lo sguardo, K.584
15
Original Version
16
Das Traumbild, K. 530
17
Le nozze di Figaro, K. 492 (Original Version)
18
N. 17. Duettino: »Crudel! Perché finora farmi languir cosi?« (Act 3)
19
Recitativo: »E perché fosti mai stamattina si austera?« »Ehi, Susanna, ove vai?« (Act 3)
20
N. 18. Recitativo ed aria »Hai già vinta la causa!« (Act 3)
21
»Vedrò mentr'io sospiro« (Act 3)
22
Komm, liebe Zither, komm, K. 351
23
Don Giovanni, K. 527 (Original Version)
24
No. 16 Canzonetta: »Deh, vieni alla finestra« (Act 2)
25
Quel casinetto è mio...Là ci darem la mano (Act 1)
26
Quel casinetto è mio...Là ci darem la mano (Act 1)
27
No. 11 Aria: »Fin ch'han dal vino« (Act 1)
The album celebrates Schuen’s deep and longstanding relationship to the composer and his birth- and creative place Salzburg.
On the album, Schuen is joined by the Mozarteum orchestra of Mozart’s hometown Salzburg with its chief conductor Roberto Gonzáles-Monjas, and further collaborates with mandolinist Avi Avital, pianist Daniel Heide and soprano Nikola Hillebrand.
“This album is conceived as my personal journey with Mozart’s music,” Schuen states. “I didn’t just want to present a list of Mozart’s arias for baritone and bass. Instead, I wanted to create interesting links and transitions that would draw the listeners in and establish a dramatic arc for the sequence as a whole.”