- Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a)
- Bella mia fiamma, addio!...Resta, o cara!, recitative and aria for soprano & orchestra, K. 528
- Al desio di chi t'adora, aria for soprano & orchestra, K. 577
- Così fan tutte, opera, K. 588: Una donna a quindici anni
- Idomeneo, rè di Creta, opera, K. 366: Quando avran fine omai... Padre, germani, addio!
- Don Giovanni, opera, K. 527: Ah! fuggi il traditor
- O temerario Arbace!...Per quel paterno, recitative and aria for soprano & orchestra, K. 79 (K. 73d)
- Il rè pastore, opera, K. 208: L'amerò, sarò costante
- Don Giovanni, opera, K. 527: Là ci darem la mano
- Vesperae solennes de confessore for soloists, chorus & orchestra, K. 339: Laudate Dominum
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Danielle DeNiese made her Met debut as Barbarina in Le nozze di Figaro. At just 19, it was already clear that she was destined to be a major Mozart singer, with her extraordinary sensitivity to language and ability to communicate emotion through the expressive use of vocal color, not to mention her personal charisma, her star quality, and the irresistible force of her personality.
This recording of Mozart arias is thus a natural follow-up to the remarkable Handel album. Her partnership here with Sir Charles Mackerras lends her the wise and authoritative support of one of the great modern heroes of Mozart performance style and practice. It’s an added bonus that in the only duet on this album -- "Là ci darem la mano" from Don Giovanni -- Danielle is reunited after ten years with the great Welsh bass-baritone Bryn Terfel, who had also been in the Figaro in which she made her Met debut.
From the famously elaborate coloratura piece "Exsultate, jubilate" to the ever famous concert piece "Bella mia fiamma, addio!," Danielle displays her remarkable versatility and ability to demonstrate musical and emotional contrast. On the Mozart Album, she also explores other opera gems from Cosi fan tutte, Idomeneo, Don Giovanni, and more! From the Label
Most Helpful Customer Reviews
I really look forward to hearing what this wonderful singer does in the future. With the Mozart Album, she comes into her own more than ever.
All PR packaged,ready to sell and make money! There are many sad things about this album.. what is even more sad is the choice of Material. Same old- same old-BORING-BORING! Ist let me just say that Miss.de Neise singing hasn't gotten any better. No use of tone palette. One wonders, if she even understands what she is singing. I think not! Does she even understand the style of Mozart? Mozart isn't Puccini..nor is he Wagner! So why all the screaming and shouting? For such a singer at the Metropolitan Opera House and other high profile houses in Europe. This type of singing is utterly embarrassing!! I offer some advice to Miss.de Niese. Go back to School and learn how to sing. I am sure Julliard or Manhattan school would gladly take her..