Formats and Editions

DISC: 1

1. Mozart: Cosi fan tutte, K. 588: Ah, scostati (Dorabella)

2. Mozart: Cosi fan tutte, K. 588: Smanie implacabili (Dorabella)

3. Mozart: Ch'io mi scordi di te, K. 505: Ch'io mi scordi di te

4. Mozart: Ch'io mi scordi di te, K. 505: Non temer, amato bene

5. Mozart: Le nozze di Figaro, K. 492: Giunse alfin il momento (Susanna)

6. Mozart: Le nozze di Figaro, K. 492: Deh vieni, non tardar (Susanna)

7. Mozart: Mitridate, Re di Ponto, K. 87: Venga pur, minacci e frema (Farnace)

8. Mozart: Ascanio in Alba, K. 111: Perchè tacer degg'io? (Ascanio)

9. Mozart: Ascanio in Alba, K. 111: Cara, lontano ancora (Ascanio)

10. Mozart: Exsultate, jubilate, K. 165: I. Allegro. Exsultate, jubilate

11. Mozart: Exsultate, jubilate, K. 165: II. Recitativo secco. Fulget amica dies

12. Mozart: Exsultate, jubilate, K. 165: III. Andante. Tu virginum corona

13. Mozart: Exsultate, jubilate, K. 165: IV. Allegro. Alleluja, alleluja

14. Mozart: Le nozze di Figaro, K. 492: Voi che sapete (Cherubino)

15. Mozart: La finta giardiniera, K. 196: Va' pure ad altri in braccio (Ramiro)

16. Mozart: La clemenza di Tito, K. 621: Parto, ma tu ben mio (Sesto)

17. Mozart: Mass in C Minor, K. 427: Laudamus te

More Info:

In Mozart's day, the vocal typologies that we know today were yet to be established. Women were sopranos, castrati were castrati, and Mozart wrote for personalities and vocal colors rather than for abstract voice types. Providing we set aside the labels that are used nowadays, a female singer can cover a whole range of expressive and dramatic possibilities in Mozart's works, and take on the roles of many different characters, including those belonging to the rich repertoire that Mozart bestowed on castrato voices. With the help of Stephan MacLeod, at the helm of his ensemble Gli Angeli Genève, Marina Viotti has put together a program that embraces the diversity and versatility of Mozart's vocalism.

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