I am still so thankful for your work in bringing this information to us. You've enriched my retirement years, and I never thought I'd get here. I tell everyone about my experience now.
Two alternate essential choices for you: the Grumiaux/Pelliccia/Davis Mozart Sinfonia Concertante and the Marcellus/Szell Mozart Clarinet Concerto. Although it isn't my favorite of the last six symphonies, I agree with you about the Walter set. I also agree with your choices for the operas although I'm a big fan of the Krips Don Giovanni. But I agree with you that the Giulini is the reference version.
Excellent choices. There is a good argument for both Marcellus and Grumiaux (for all the violin concertos). I’m also a big fan of the Krips Don Giovanni, moreso than the Giulini.
@@GilZilkha Been truly enjoying your videos and learning a lot I am also using the information you provide to check if I have some of the versions you are mentioning albeit I have more in LPs than in CDs Thanks again
There are gazillions of great Mozart recordings that are also pleasing to listen to, i.e. recorded in stereo. I’m never impressed by people who claim to like old recordings.
A. We hear what we hear B. If people like an old recording, it is due to what they hear, not an attempt to impress others C. On my channel I encourage people to respect that others may hear a recording differently, regardless of whether you hear it the same way
The Beecham and Böhm Zauberflöte recordings are among the most overrated recordings in existence. The only reason that Beecham is considered a "consensus" pick is because it's been around the longest - the singing, Hüsch's marvelous Papageno aside, is mostly dreadful. And if Wunderlich weren't on the Böhm, no one would consider it. For that matter, Böhm is among the most overrated Mozarteans in general - he is invariably heavy and charmless. Walter's Mozart is good (unless you insist on exposition repeats), but Casals is my reference here. I've never understood the love for Giulini's Don Giovanni. Waechter is utterly miscast, Alva is a stereotypically wimpy Ottavio, and the women are no great shakes despite their famous names. Give me the Mitropoulos with Siepi, Simoneau, et al. The concerti with Perahia are dull. I'll take Kirschnereit or Viviana Sofronitsky for complete traversals, and any number of other pianists for individual works.
Completely disagree with your rationale for the Beecham. It is a lovely, charming, beautifully sung version and not a mere historical document, though it must be said that it of course is a lingering historical stain that Tauber and Kipnis were blacklisted from being included due to their Jewish heritage.
@@GilZilkha Tauber and Kipnis would have helped - Strienz is adequate, but Roswaenge is completely miscast. But they wouldn't have altered Lemnitz's pallid Pamina or Berger's KdN, who sounds like a ten-year-old girl.
Lemnitz sings gorgeously, and Berger nails her arias. So what if she has a petite sound? Outside of Deutekom, it’s hard to find a menacing timbre for the role. Berger was in her late 30s on this recording. I suppose for an age appropriate Queen, we could opt for Florence Foster Jenkins. I do agree Roswaenge was the weak link, lacking subtlety, and Tauber would have been excellent in the role. It’s hard to find consistent Zauberflote’s, hence the split choices among these three.
