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A recital? Yes, but so much more. A little bit of “highlights,” but these are also portraits of fascinating women. Highly recommended!
– Bill Dodd, NativeDSD Senior Reviewer
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Mozart, You Drive Me Crazy! is the title that the South African soprano Golda Schultz has decided to give to her new album. Devoted to the female heroines of Don Giovanni, Così fan tutte and Le nozze di Figaro, roles that have marked her career from Berlin to The Metropolitan Opera:
Why does Mozart drive me crazy? First of all, because his music, which sounds so easy when you listen to it, is extremely difficult to perform. And when I immerse myself in the world of Da Ponte and Mozart, I realise that there’s a deep complexity to their female characters: they endure the toughest trials, but they also display great strength.
In fact, these operas explore humanity from the feminine perspective: every single one of these women is constantly evolving. They show how human beings transcend trauma and how grief and pain can be overcome.
The program is conducted by another eminent Mozartian, Antonello Manacorda, with the Kammerakademie Potsdam.
Golda Schultz, Soprano
Kammerakademie Potsdam
Antonello Manacorda, Conductor
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 00:59:04
Additional information
| Label | |
|---|---|
| SKU | ALPHA1026 |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
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| Release Date | April 12, 2024 |
Press reviews
MusicWeb International
The complexity of the female characters in Mozart’s operas is best illustrated in the three great da Ponte operas, where Susanna and Contessa, Donna Anna and Donna Elvira and Fiordiligi really stand out as three-dimensional individuals. Golda Schultz manages to catch the essence of each of these five personalities; no easy task, since they are so different. The light, lyrical Susanna has very little in common with the high-dramatic Donna Anna, but Schultz skilfully individualises her tone, even though her voice type is closer to the latter. It was also a brilliant idea to include several ensemble scenes as a counterweight to the traditional recital with a string of arias. The supporting singers are excellent, but only Samoan tenor Amitai Pati is featured prominently in the long duet between Fiordiligi and Ferrando from Così fan tutte (track 8), where his beautiful lyrical tone holds its own well against Golda Schultz’s more powerful voice. Simone Easthope’s Susanna also blends well with Schultz’s Contessa in the little duettino from Le nozze di Figaro (track 11). Milan Siljanov is a characterful Don Alfonso in the sextet from Così fan tutte (track 12). Generally, in the big ensembles, the voices blend uncommonly well.
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