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WOLFGANG AMADEUS MOZART
Cosi fan Tutte
opera-buffa in 2 acts on a libretto by Lorenzo da Ponte

CD 1 - ACT I
1. Ouverture - 4'08
2. Terzetto 'La mia Dorabella capace non e' - 2'38
3. Terzetto 'e la fede delle femmine' - 2'05
4. Terzetto 'Una bella serenata' - 2'27
5. Duetto 'Ah, guarda, sorella' - 4'41
6. Aria 'Vorrei dir, e cor non ho' - 1'14
7. Quintetto 'Sento, o Dio, che questo piede' - 5'20
8. Coro 'Bella vita militar' - 2'12
9. Quintetto e Coro 'Di scrivermi ogni giorno' - 3'09
10. Terzettino 'Soave sia il vento' - 3'57
11. Recitativo Don Alfonso - 0'53
12. Aria 'Smanie implacabili' - 4'36
13. Aria 'In uomini, in soldati' - 3'24
14. Sestetto 'Alla bella Despinetta' - 5'28
15. Aria 'Come scoglio immoto resta' - 8'25
16. Aria 'Non siate ritrosi' - Terzetto 'E voi ridete' - 2'57
17. Aria 'Un'aura amorosa' - 4'59
18. Finale 'Ah, che tutta in un momento' - 9'10
19. Finale 'Ecco vi il medico' - 10'21

CD2 - ACT II
20. Aria 'Una donna di quindici anni' - 3'23
21. Duetto 'Prendero quel brunettino' - 4'04
22. Duettino con coro 'Secondate, aurette amiche' - 3'06
23. Quartetto 'La mano a me date' - 3'10
24. Duetto 'Il core vi dono' - 5'59
25. Aria 'Ah, lo veggio, quell'anima bella' - 9'14
26. Rondo 'Per pieta, ben mio, perdona' - 5'54
27. Aria 'Donne mie, la fate a tanti' - 3'40
28. Cavatina 'Tradito, schernito' - 1'21
29. Aria 'E amore un ladroncello' - 4'30
30. Duetto 'Fra gli amplessi in pochi istanti' - 8'15
31. Andante 'Tutti accusan le donne ed io le scuso' - 2'29
32. Finale 'Fate presto, o cari amici' - 23'02

Fiordiligi: Elizabeth Schwarzkopf
Dorabella: Nan Merriman
Ferrando: Léopold Simoneau
Guglielmo: Rolando Panerai
Despina: Lisa Otto
Don Alfonso: Sesto Bruscantini

Philharmonia Orchestra and Choir
Herbert von Karajan, conductor

Remastered from the original 1954 recording
Total duration: 160.34

(Listening to this set again after a few years and several subsequent "authentic" recordings of the opera is a revelation: Karajan's entire sense of the work, at least at this point in his career, was very much in line with the so-called "purists'" approach to which we've since become accustomed. Tempos are fleet in the recitatives as well as the musical numbers...Elisabeth Schwarzkopf "gets" Fiordiligi, and because she had not yet begun over-emphasizing every word and note she encountered, the character's melodramatic approach to life is all the more telling...I doubt that Ferrando ever will be sung as elegantly or with as much feeling as by Leopold Simoneau...the playing of the Philharmonia forces shines... This set is one for the ages. Robert Levine-Classics Today)