Track Listing

Disc 1:

1. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Overt�re
2. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 1 Arie Hier soll ich dich denn sehen
3. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 2 Lied Und Duett: Wer ein Liebchen hat gefunden
4. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Nun, Osmin, wie steht's?
5. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 3 Arie: Solche hergelaufne Laffen
6. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Verw�nschter Aufpasser
7. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 4 Arie: Konstanze, dich wiederzusehen
8. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 5 Chor der Janitscharen: Singt dem gro�en Bassa L
9. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Immer noch traurig, geliebte Konstanze?
10. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 6 Arie: Ach ich liebte, war so gl�cklich
11. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Ihr Schmerz, ihre Tr�nen
12. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Herr, verzeiht
13. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Triumph, der erste Schritt w�re getan
14. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 7 Terzett: Marsch, marsch, marsch, trollt euch fo
15. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Oh, des Zankens, Befehlens und Murrens
16. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 8 Arie: Durch Z�rtlichkeit und Schmeicheln
17. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Z�rtlichkeit? Schmeicheln?
18. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 9 Duett: Ich gehe, doch ich rate dir
19. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 10a: Arie Rezitativ: Welcher Kummer herrscht in m
20. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 10b Arie: Traurigkeit ward mir zum Lose
21. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Nun Konstanze, der Tag ist bald verstrichen
22. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 11 Arie: Martern aller Arten

Disc 2:

1. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Kein Bassa, keine Konstanze mehr da?
2. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 12 Arie: Welche Wonne, welche Lust
3. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Wenn es nur schon vor�ber w�re
4. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 13 Arie: Frisch zum Kampfe!
5. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Hier geht es ja lustig zu
6. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 14 Duett: Vivat Bacchus! Bacchus! lebe!
7. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Nicht wahr Osmin, es geht doch nichts �ber de
8. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 16 Quartett: Ach Belmonte, ach mein Leben!
9. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Pedrillo, ist alles bereit?
10. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 17 Arie: Ich baue ganz auf deine St�rke
11. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Es ist so still
12. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 18 Romanze: Im Mohrenland gefangen war
13. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Blondchen! Nun Cupido
14. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 19 Arie: O, wie will ich triumphieren
15. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Dialog: Osmin! Was bedeutet der L�rm?
16. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 20 Rezitativ und Duett: Welch ein Geschick?
17. Die Entf�hrung aus dem Serail (The Abduction from the Seraglio), opera, K. 384: Nr. 21 Finale: Nie werd' ich deine Huld verkennnen

Product Details

• Amazon Sales Rank: #340934 in Music
• Released on: 1995-09-19
• Number of discs: 2
• Dimensions: .41 pounds

Customer Reviews

Overall, the best "Abduction"
Mozart's "Abduction from the Seraglio" may be one of his earliest operas, but it is also one of his most difficult, demanding a large-voiced coloratura soprano at one end and a basso profundo bass at the other, two difficult tenor roles, and a conductor who can hold them all together.

In this Salzburg Festival performance of July 28, 1965, most of these elements come together. Fritz Wunderlich sings here in his late-period "dramatic" style, which means some over-emphasis of notes in his runs and the occasional gulp for breath, but...he's still Fritz Wunderlich, and he's in good voice. Annaliese Rothenberger was the best Constanze of her time, and she is excellent in this live performance, save one marred run in "Martern aller arten." Reri Grist, who was often phlegmatic in her later years, is absolutely the best Blonde on records; Gerhard Unger, one of the greatest singing-actors of his time, is a phenomenal Pedrillo; and Fernando Corena, in excellent voice, has just the right bluster and menace for Osmin.

Best of all, however, is Zubin Mehta's conducting. I have to admit, I am not a Zubie fan, but here he is superb, making the Vienna Philharmonic sound at times like a chamber orchestra. And the sound is great for a 1965 broadcast.

No, it is not a "perfect" Abduction, but it's better than any other recording, even the excellent Fricsay recording.

For An Old Live Recording It's Quality Mozart Opera
This old live recording of Mozart's Abduction From The Seraglio is one of my favorites. There exists a charming Salzburg Marionette Theater production featuring the voices of Rita Streich and Maria Stader. That is the most beautiful version I have ever heard. It is also a recording. But this one has its charm and a top-notch cast. In the role of the romantic hero Belmonte is the famous pre and post World War II tenor Fritz Wunderlich, who died young and recorded a number of albums. He has the quintessential Germanic voice, thoug he sang in the Italian and French repertoire. His greatest strength was Mozart roles. In this recording he is doing a good job, despite the fact he is older and his voice has matured considerably. Bass Fernando Corena was an outstanding basso buffo and in this recording as Pedrillo he is hilarious and lyrical. He has sung in many bass roles including Leporello in Don Giovanni and as Sulpice in La Fille Du Regiment, a role which he sang with Beverly Sills. Soprano Anneliese Rothenberger takes on the role of Konstanza. She is Konstanza. Beautiful, headstrong, feminine, and totally devoted to Belmonte, despite her abduction and the overt domination Bassa Selim enforces on her. Rothenberger makes a convincing, beautiful Konstanza. Her light lyric voice was capable of expressing romantic emotions, despair and other operatic sentiments. Her Pamina in the Magic Flute as well as her Sophie in Der Rosenkavalier not to mention the countless Johann Strauss, Suppe and Lehar operettas she recoreded all attest to the gifted German voice she possessed. She was in many ways the "other" Elisabeth Schwarzkopf which is something most people don't realize. This is a beautiful recording of Mozart's lively fun opera about love and loyalty. At the time of the making of this opera, Mozart was about to marry his wife Constanza Webber. He was happy, he wrote the score with a lot of joy and the music affirms that. This was his first German opera. The second would be The Magic Flute. Already, signs of some of the material for his Le Nozze Di Figaro are evident. His lead characters are normally: a bass who is either a villain or in a comic role (Bassa Selim, Don Giovanni, Leporello, Count Almaviva) a romantic and cunning tenor (Belmonte, Figaro, Don Ottavio) a soprano who is charming but dramatic (Konstanza, Dona Ana, Dona Elvira, The Countess in Figaro). In ensembles, the group consists of a tenor, "diva" soprano, bass and ligher soprano or soubrette (Blonchen and Sussanah in Figaro). This is a great recording that fins of Fritz Wunderlich, Anneliese Rothenberger and Fernando Corena, not to mention the conductor Zubin Mehta doing a sensational job.