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Great Recordings Of The Century - Mozart: Le Nozze Di Figaro / Karajan, London, Schwarzkopf, Seefried, et al
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Die Meistersinger von Nürnberg Schoffler Alsen Bohm (4 CD Box Set) (Preiser)
from: Preiser Records
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Weber: Der Freischütz
from: Preiser Records
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Otto Nicolai: Die lustigen Weiber von Windsor
from: Gala
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Mozart: Le Nozze Di Figaro
from: Angel Records
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Wiener Staatsoper Live, Vol.3
from: Koch Schwann (Germ.)
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Mozart: Le Nozze di Figaro
from: EMI Classics
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Strauss: Die Frau ohne Schatten; Daphne
from: Koch Schwann (Germ.)
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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Herbert Alsen
from: Preiser Records
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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The Best of The Marriage of Figaro by Mozart
from: Prism Leisure
: :Herbert von Karajan's 1950 Vienna recording of Mozart's Le Nozze di Figaro was the first that was made for the then-new LP medium. Like its EMI predecessor on 78s (the 1934 Fritz Busch/Glyndebourne version), this recording omits all of the recitatives--a ploy that's analogous to removing all of the bridges from Amsterdam's canals. As a result, you get all of Mozart's wonderful arias and group numbers, but not one iota of dramatic continuity and not much character development. More often than not, Karajan substitutes speed for finesse, letting chips of good ensemble playing ...
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