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Special offer. Mozart: Die Entführung aus dem Serail, K384

Jane Archibald (Konstanze), Norman Reinhardt (Belmonte), David Portillo (Pedrillo), Rachele Gilmore (Blonde), Mischa Schelomianski (Osmin), Christoph Quest (Pacha Selim)

Le Cercle de l’harmonie, Jérémie Rhorer

Mozart: Die Entführung aus dem Serail, K384
Jane Archibald (Konstanze) is agile and blends well with Belmonte…Norman Reinhardt (Belmonte) has a pleasing, ‘open’ voice…the Russian bass Mischa Schelomianski (Osmin) is sonorous and sometimes...

Special offer. Mozart: Die Entführung aus dem Serail, K384

Jane Archibald (Konstanze), Norman Reinhardt (Belmonte), David Portillo (Pedrillo), Rachele Gilmore (Blonde), Mischa Schelomianski (Osmin), Christoph Quest (Pacha Selim)

Le Cercle de l’harmonie, Jérémie Rhorer

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This release includes a digital booklet

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Jane Archibald (Konstanze) is agile and blends well with Belmonte…Norman Reinhardt (Belmonte) has a pleasing, ‘open’ voice…the Russian bass Mischa Schelomianski (Osmin) is sonorous and sometimes...

About

The conductor Jérémie Rhorer is today regarded as one of the finest interpreters of the music of Mozart in general and his operas in particular. After conducting Die Entführung aus dem Serail at the Festival d’Aix-en-Provence in 2015, he performed it again at a memorable concert at the Théâtre des Champs-Élysées in Paris in September of that year with his orchestra, Le Cercle de l’Harmonie. It is this exceptional event, captured in a live recording conveying all the dramatic intensity of the opera, that we present today.

‘In Die Entführung, Mozart presents a completely unprecedented vision of the singspiel, with highly developed ensembles and musical continuity at a time when contemporary spectators were expecting the standard alternation between spoken and sung sections’, says Jérémie Rhorer in the interview that accompanies the discs. That musical dramaturgy lies at the centre of this interpretation, which is served by an outstandingly homogeneous cast. This recording launches a series of recordings of concerts at the Théâtre des Champs-Élysées and a collaboration between Alpha Classics and Le Cercle de l’Harmonie, who will continue to place their excellence at the service of the great masterpieces of Mozart – and of other composers: watch this space!

Contents and tracklist

Dialog
Track length0:28
No. 3, Aria "Solche hergelaufne Laffen"
Track length4:39
Dialog
Track length1:22
No. 6, Aria "Ach ich liebte, war so glücklich!"
Track length5:12
Dialog
Track length0:11
No. 8, Aria "Durch Zärtlichkeit und Schmeicheln"
Track length4:17
Dialog
Track length1:04
No. 9, Duetto "Ich gehe, doch rate ich dir"
Track length3:24
No. 10, Recitativo "Welcher Wechsel herrscht in meiner Seele"
Track length1:47
No. 10, Aria "Traurigkeit ward mir zum Loose"
Track length6:26
Dialog
Track length1:26
Dialog
Track length0:12
No. 13, Aria "Frisch zum Kampfe!"
Track length3:02
Dialog
Track length1:09
No. 14, Duetto "Vivat Bacchus!"
Track length2:42
No. 15, Aria "Wenn der Freude Tränen fließen"
Track length4:46
No. 16, Quartetto "Ach Belmonte! ach mein Leben"
Track length9:52
Dialog
Track length0:30
No. 19, Aria "O, wie will ich triumphieren"
Track length3:16
No. 21a, Vaudeville "Nie werd' ich deine Huld"
Track length3:33
"Bassa Selim lebe lange"
Track length2:39

Spotlight on this release

Awards and reviews

November 2016

Jane Archibald (Konstanze) is agile and blends well with Belmonte…Norman Reinhardt (Belmonte) has a pleasing, ‘open’ voice…the Russian bass Mischa Schelomianski (Osmin) is sonorous and sometimes menacing

September 2016

Archibald sings Konstanze’s set pieces with admirable dignity…[Reinhardt’s] depiction of the would-be rescuer’s shifting emotions of ardent sentimentality and naïve hopefulness are spot-on…and every detail of instrumental colour and emotional expression is realised neatly by Rhorer and his orchestra

3rd July 2016

The downside is a demonstrative audience, but Rohrer's way with the music is so invigorating — like Jacobs, he uses period instruments, which highlight Mozart's "Turkish" orchestration — that there are compensations aplenty...His cast mostly equals or even surpasses the rival sets.

28th July 2016

It’s definitely a live performance – the audience makes its enthusiasm felt and the sound isn’t entirely polished, which I quite like. The cast is pretty appealing...[Rhorer offers] a whole lot of orchestral charisma: an overture full of bounce and clatter, pacey tempos that fizz but also breathe, textures that are bright and fibrous, a delivery that is happily slapdash without getting messy.
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