Wolfgang Amadeus Mozart (1756-1791) Le nozze di Figaro by Fritz Busch 🎧 Qobuz bit.ly/3VE9mmx Apple Music apple.co/3LKWRB9 🎧 Amazon Music amzn.to/44FlKqE Tidal bit.ly/44xYxXn 🎧 Deezer bit.ly/3LGN9zF Spotify spoti.fi/3M4icXz 🎧 UA-cam Music bit.ly/3M5yrDI SoundCloud -- 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... 00:00 Overture - Le nozze di Figaro, K. 492 03:52 Duettino: Cinque... dieci... venti (Figaro, Susanna) - Act 1 06:36 Duettino: Se a caso Madama (Figaro, Susanna) 09:12 Cavatina: Se vuol ballare (Figaro, Susanna) 11:30 Aria: La vendetta, oh, la vendetta (Bartolo) 14:11 Duettino: Via resti servita, madama brillante (Marcellina, Susanna) 16:24 Aria: Non so più cosa son, cosa faccio (Cherubino) 19:15 Terzetto: Cosa sento! (Conte, Basilio, Susanna) & Aria: Non più andrai, farfallone amoroso (Figaro) 23:40 Aria: Non più andrai, farfallone amoroso (Figaro) 27:15 Cavatina: Porgi, amor, qualche ristoro (Contessa) - Act 2 31:37 Arietta: Voi, che sapete che cosa è amor (Cherubino) 34:41 Aria: Venite, inginocchiatevi (Susanna) 37:37 Terzetto: Susanna, or via sortite (Conte, Contessa, Susanna) 40:33 Duettino: Aprite, presto, aprite (Susanna, Cherubino) 41:30 Esci omai, garzon malnato (Conte, Contessa) 44:02 Signore! Cos'è quel stupore? (Susanna, Conte, Contessa, Figaro) 49:51 Conoscete, signor Figaro (Conte, Figaro, Susanna, Contessa, Antonio) 58:03 Voi, signor, che giusto siete (Marcellina, Bartolo, Basilio, Conte, Susanna, Contessa, Figaro) 1:01:41 Duettino: Crudel! Perché finora farmi languir così? (Conte, Susanna) - Act 3 1:04:23 Recitativo ed aria: Hai già vinta la causa!... Vedrò, mentr'io sospiro (Conte) 1:09:07 Sestetto: Riconosci in quest'amplesso (Marcellina, Figaro, Bartolo, Curzio, Conte, Susanna) 1:13:48 Recitativo ed aria: E Susanna non vien!,.. Dove sono (Contessa) 1:20:40 Duettino: ...sull'aria - Che soave zefiretto (Susanna, Contessa) 1:23:34 Coro: Ricevete, o padroncina (Chorus) 1:24:52 Finale: Ecco la marcia... Amanti costanti (Figaro, Susanna, Conte, Contessa, Due ragazze, Chorus) 1:31:33 Recitativo ed aria: Tutto è disposto... Aprite un po' quegli occhi (Figaro) - Act 4 1:35:50 Recitativo ed aria: Giunse alfin il momento... Deh, vieni, non tardar (Susanna) 1:41:30 Pian, pianin, le andrò più presso (Cherubino, Contessa, Conte, Susanna, Figaro) 1:47:13 Tutto è tranquillo e placido (Figaro, Susanna) 1:50:51 Pace, pace, mio dolce tesoro (Figaro, Conte, Susanna) 1:52:36 Gente, gente, all'armi, all'armi! (Tutti) Figaro: WILLI DOMGRAF-FASSBAENDER Susanna: AUDREY MILDMAY Count: ROY HENDERSON Countess: AULIKKI RAUTAWAARA Cherubino:,LUISE HELLETSGRUBER Marcellina: CONSTANCE WILLIS Bartolo: NORMAN ALLIN (1934), ITALO TAJO (1935) Don Basilio: HEDDLE NASH Curzio: MORGAN JONES Antonio: FERGUS DUNLOP Barbarina: WINIFRED RADFORD Glyndebourne Festival Chorus and Orchestra Conductor: FRITZ BUSCH Recorded in 1934-35, at Glyndebourne New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Mozart's rise to popularity is often dated from the sesquicentenary of his death, in 1941. But even before that watershed, a few noble souls took him seriously, and not least among them were two remarkable German brothers, the conductor Fritz Busch and the violinist and composer Adolf Busch. They were born in Siegen, Westphalia, Fritz on 13 March 1890 and Adolf a year later. Their father Wilhelm made and repaired stringed instruments: the boys had the run of his shop and learnt to play tiny fiddles he had made. Even as a toddler, Fritz would set up several chairs in a row and stand before them on a footstool to conduct an imaginary orchestra. Soon he gravitated to the piano while Adolf kept to the violin. At weekends they would accompany Wilhelm on treks round the Rhineland pubs and clubs, playing for dancing. Far from putting them off, this rough and ready training gave them a fierce love for music. In 1902 Adolf, who had found a patron, entered the Cologne Conservatory; and Fritz followed in 1906, studying harmony and counterpoint with Otto Klauwell, piano with Karl Boettcher and Lazzaro Uzielli - a pupil of Clara Schumann - and conducting with Brahms's favourite interpreter Fritz Steinbach. He became a good enough pianist to be Adolf's regular sonata partner until the early 1920s, and he played the instrument to the end of his life; but conducting was his goal. He learnt much from observing Steinbach, Arthur Nikisch and Felix Weingartner. On 28 December 1908 Busch made his public conducting debut at Trier. His rise was rapid: Riga (1909); summers at Bad Pyrmont (1909-12); Gotha (1911-12); Aachen (1912-18, with a break for war service); Stuttgart (1918-22); and Dresden (1922-33). He was especialIy associated with Mozart and with the Verdi revival. In 1932 he collaborated with Carl Ebert in Mozart's Die Entführung at Salzburg, and later that year they presented Un ballo in maschera at the Berlin Städtische Oper with sets by Caspar Neher, to acclaim. On Hitler's coming to power in 1933, Busch was ousted from Dresden and, like his brother Adolf, felt obliged to leave Germany. He went first to Buenos Aires, to conduct the German part of the opera season and a concert series at the Teatro Colön: he was a welcome visitor from then on and even took Argentine citizenship. Copenhagen, where he made his home, and Glyndebourne also predominated in Busch's career: he helped to build up the Danish State Radio Symphony Orchestra; and with the Glyndebourne summer festivals, which he and Ebert directed from 1934, he changed the face of opera in Britain. From 1937 Busch was also chief conductor of the Konsertföreningen in Stockholm. In 1940, after a triumphant run of Cosi fan tutte at the Royal Opera there, he and his family travelled via Moscow, Vladivostok and Japan to Buenos Aires; and for the rest of the War he worked in South or North America. In 1941-42 he joined the New Opera Company in New York and gave concerts with the Philharmonic-Symphony. In 1945 he made the first of 69 Metropolitan Opera appearances. At the War's end, he went back to Stockholm for opera and Copenhagen for concerts. In 1950 he returned to Glyndebourne, scored a triumph at the Edinburgh Festival with his Danish orchestra and made his Vienna State Opera debut with Otello. In February 1951, on his first visit to Germany for almost 18 years, he conducted concerts in Hamburg and Cologne, as well as a recording of Un ballo in maschera for the Radio. That summer at Glyndebourne he presided over all three Mozart-Da Ponte operas and Idomeneo. His last appearances were made with the Glyndebourne company at the 1951 Edinburgh Festival: fittingly he conducted Verdi and Mozart and his final performance was of Don Giovanni. Six days later, on 14 September, he died suddenly in London. The Glyndebourne connection came about because, in November 1933, brother Adolf and his unofficial English agent and chauffeuse Frances Dakyns were in Eastbourne for a concert. They lunched and stayed the night with Rosamund Stutchbury at her home Gayles Orchard and on hearing that an eccentric former Eton housemaster, John Christie, had built an opera house in his garden and planned to present Mozart, Adolf said Fritz must be engaged because 'if anyone can conduct Mozart operas, he can'. The first festival was modest, opening on 28 May 1934 with Le nozze di Figaro and alternating it for a fortnight with Cosi fan tutte. Two concerts were given, with Adolf Busch and Rudolf Serkin as soloists. Most of the audience came down from London on a special train and once word spread, Glyndebourne became a hot ticket. In those early days all the actual participants were able to stay with the Christies. It was tacitly accepted that Mrs Christie, Canadian soprano Audrey Mildmay, would play a leading role, so she was a rather genteel Susanna in Figaro. The star was the great German baritone Willi Domgraf-Fassbaender, who sang Figaro and Guglielmo in Cosi - he and Heddle Nash, who had both studied in Milan with Giuseppe Borgatti, blended beautifully. Six nationalities were involved in Figaro, five in cos). Busch and Ebert had hired singers who looked good on stage and could act, including the Finn Aulikki Rautawaara, the Austrian Luise Helletsgruber, the American Ina Souez and the Czech Irene Eisinger. Among the Britons, besides Nash, were Roy Henderson and Norman Allin. Ironically the sole Italian, Vincenzo Bettoni who sang Don Alfonso, was the one singer not word-perfect. Having made live test records of a performance at the end of May, on 6 June an HMV team under David Bicknell recorded just the ensembles from Figaro in the theatre, as Volume 1 of the Mozart Opera Society series. The festival showed a £ 7,ooo deficit but was judged a success, although the strain caused Busch to suffer a heart attack not long afterwards. Wolfgang Amadeus Mozart PLAYLIST (reference recordings): ua-cam.com/video/gIgg_QUVV04/v-deo.html
Glyndebourne’s founders, John Christie and wife Audrey Mildmay, opened the first Festival here in 1934. Today our world-renowned auditorium and standards of excellence are testament to John’s original ethos: Not just the best we can do but the best that can be done anywhere. In the years that followed, Glyndebourne continued to be headed by the Christie family, George Christie following in 1962 and then his son Gus, now Executive Chairman, in 2000. Early years of the Glyndebourne Festival revolved almost entirely around Mozart’s extensive repertoire of operatic works before gradually expanding to include works by other composers such as Benjamin Britten, with whom Glyndebourne has enjoyed long association, as well as Giuseppe Verdi, Gioachino Rossini and many others. Originally the theatre was built to seat 300. It was enlarged and improved many times in subsequent years to hold larger audiences; such was the demand for opera at Glyndebourne. By 1977, it held 850 people. By the 1990s it was clear that Glyndebourne needed an even larger auditorium so in 1994 a new opera house was built to seat 1,200, opening with a performance of Mozart’s Le nozze di Figaro, a fitting tribute to the Festival’s origins. Today Glyndebourne reaches around 150,000 people a year with over 120 live opera performances. Its continued employment of inspirational directors, world-class orchestras and performers, and the ongoing drive to commission new work, now go hand in hand with digital innovations such as online streamings to reach new audiences. Mozart's rise to popularity is often dated from the sesquicentenary of his death, in 1941. But even before that watershed, a few noble souls took him seriously, and not least among them were two remarkable German brothers, the conductor Fritz Busch and the violinist and composer Adolf Busch. They were born in Siegen, Westphalia, Fritz on 13 March 1890 and Adolf a year later. Their father Wilhelm made and repaired stringed instruments: the boys had the run of his shop and learnt to play tiny fiddles he had made. Even as a toddler, Fritz would set up several chairs in a row and stand before them on a footstool to conduct an imaginary orchestra. Soon he gravitated to the piano while Adolf kept to the violin. At weekends they would accompany Wilhelm on treks round the Rhineland pubs and clubs, playing for dancing. Far from putting them off, this rough and ready training gave them a fierce love for music. In 1902 Adolf, who had found a patron, entered the Cologne Conservatory; and Fritz followed in 1906, studying harmony and counterpoint with Otto Klauwell, piano with Karl Boettcher and Lazzaro Uzielli - a pupil of Clara Schumann - and conducting with Brahms's favourite interpreter Fritz Steinbach. He became a good enough pianist to be Adolf's regular sonata partner until the early 1920s, and he played the instrument to the end of his life; but conducting was his goal. He learnt much from observing Steinbach, Arthur Nikisch and Felix Weingartner. On 28 December 1908 Busch made his public conducting debut at Trier. His rise was rapid: Riga (1909); summers at Bad Pyrmont (1909-12); Gotha (1911-12); Aachen (1912-18, with a break for war service); Stuttgart (1918-22); and Dresden (1922-33). He was especialIy associated with Mozart and with the Verdi revival. In 1932 he collaborated with Carl Ebert in Mozart's Die Entführung at Salzburg, and later that year they presented Un ballo in maschera at the Berlin Städtische Oper with sets by Caspar Neher, to acclaim. On Hitler's coming to power in 1933, Busch was ousted from Dresden and, like his brother Adolf, felt obliged to leave Germany. He went first to Buenos Aires, to conduct the German part of the opera season and a concert series at the Teatro Colön: he was a welcome visitor from then on and even took Argentine citizenship. Copenhagen, where he made his home, and Glyndebourne also predominated in Busch's career: he helped to build up the Danish State Radio Symphony Orchestra; and with the Glyndebourne summer festivals, which he and Ebert directed from 1934, he changed the face of opera in Britain. From 1937 Busch was also chief conductor of the Konsertföreningen in Stockholm. In 1940, after a triumphant run of Cosi fan tutte at the Royal Opera there, he and his family travelled via Moscow, Vladivostok and Japan to Buenos Aires; and for the rest of the War he worked in South or North America. In 1941-42 he joined the New Opera Company in New York and gave concerts with the Philharmonic-Symphony. In 1945 he made the first of 69 Metropolitan Opera appearances. At the War's end, he went back to Stockholm for opera and Copenhagen for concerts. In 1950 he returned to Glyndebourne, scored a triumph at the Edinburgh Festival with his Danish orchestra and made his Vienna State Opera debut with Otello. In February 1951, on his first visit to Germany for almost 18 years, he conducted concerts in Hamburg and Cologne, as well as a recording of Un ballo in maschera for the Radio. That summer at Glyndebourne he presided over all three Mozart-Da Ponte operas and Idomeneo. His last appearances were made with the Glyndebourne company at the 1951 Edinburgh Festival: fittingly he conducted Verdi and Mozart and his final performance was of Don Giovanni. Six days later, on 14 September, he died suddenly in London. The Glyndebourne connection came about because, in November 1933, brother Adolf and his unofficial English agent and chauffeuse Frances Dakyns were in Eastbourne for a concert. They lunched and stayed the night with Rosamund Stutchbury at her home Gayles Orchard and on hearing that an eccentric former Eton housemaster, John Christie, had built an opera house in his garden and planned to present Mozart, Adolf said Fritz must be engaged because 'if anyone can conduct Mozart operas, he can'. The first festival was modest, opening on 28 May 1934 with Le nozze di Figaro and alternating it for a fortnight with Cosi fan tutte. Two concerts were given, with Adolf Busch and Rudolf Serkin as soloists. Most of the audience came down from London on a special train and once word spread, Glyndebourne became a hot ticket. In those early days all the actual participants were able to stay with the Christies. It was tacitly accepted that Mrs Christie, Canadian soprano Audrey Mildmay, would play a leading role, so she was a rather genteel Susanna in Figaro. The star was the great German baritone Willi Domgraf-Fassbaender, who sang Figaro and Guglielmo in Cosi - he and Heddle Nash, who had both studied in Milan with Giuseppe Borgatti, blended beautifully. Six nationalities were involved in Figaro, five in cos). Busch and Ebert had hired singers who looked good on stage and could act, including the Finn Aulikki Rautawaara, the Austrian Luise Helletsgruber, the American Ina Souez and the Czech Irene Eisinger. Among the Britons, besides Nash, were Roy Henderson and Norman Allin. Ironically the sole Italian, Vincenzo Bettoni who sang Don Alfonso, was the one singer not word-perfect. Having made live test records of a performance at the end of May, on 6 June an HMV team under David Bicknell recorded just the ensembles from Figaro in the theatre, as Volume 1 of the Mozart Opera Society series. The festival showed a £ 7,ooo deficit but was judged a success, although the strain caused Busch to suffer a heart attack not long afterwards. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Lebhafte und wunderschöne Interpretation dieser perfekt komponierten Oper mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie herrlichen Stimmen aller genialen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors. Der intelligente und erfahrene Dirigent leitet das perfekt trainierte Orchester im relativ schnellen Tempo und mit effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als Originalaufnahmen von Vorkriegsjahren 1934-35. Alles ist wunderbar!
This performance has worn well - excellent singers, masterfully conducted by Busch etc. The only thing that makes it sound dated is the use of piano instead of harpsichord continuo. Congratulations on an excellent restoration.
À l'époque ce n'était pas de mise hélas, question précaire d'enregistrement, comme la version Karajan de 1950 à Vienne sans doute la meilleure jamais réalisée mais sans récitatifs ce qui la disqualifie plus ou moins
Wolfgang Amadeus Mozart (1756-1791) Le nozze di Figaro by Fritz Busch
🎧 Qobuz bit.ly/3VE9mmx Apple Music apple.co/3LKWRB9
🎧 Amazon Music amzn.to/44FlKqE Tidal bit.ly/44xYxXn
🎧 Deezer bit.ly/3LGN9zF Spotify spoti.fi/3M4icXz
🎧 UA-cam Music bit.ly/3M5yrDI SoundCloud --
🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
00:00 Overture - Le nozze di Figaro, K. 492
03:52 Duettino: Cinque... dieci... venti (Figaro, Susanna) - Act 1
06:36 Duettino: Se a caso Madama (Figaro, Susanna)
09:12 Cavatina: Se vuol ballare (Figaro, Susanna)
11:30 Aria: La vendetta, oh, la vendetta (Bartolo)
14:11 Duettino: Via resti servita, madama brillante (Marcellina, Susanna)
16:24 Aria: Non so più cosa son, cosa faccio (Cherubino)
19:15 Terzetto: Cosa sento! (Conte, Basilio, Susanna)
& Aria: Non più andrai, farfallone amoroso (Figaro)
23:40 Aria: Non più andrai, farfallone amoroso (Figaro)
27:15 Cavatina: Porgi, amor, qualche ristoro (Contessa) - Act 2
31:37 Arietta: Voi, che sapete che cosa è amor (Cherubino)
34:41 Aria: Venite, inginocchiatevi (Susanna)
37:37 Terzetto: Susanna, or via sortite (Conte, Contessa, Susanna)
40:33 Duettino: Aprite, presto, aprite (Susanna, Cherubino)
41:30 Esci omai, garzon malnato (Conte, Contessa)
44:02 Signore! Cos'è quel stupore? (Susanna, Conte, Contessa, Figaro)
49:51 Conoscete, signor Figaro (Conte, Figaro, Susanna, Contessa, Antonio)
58:03 Voi, signor, che giusto siete (Marcellina, Bartolo, Basilio, Conte, Susanna, Contessa, Figaro)
1:01:41 Duettino: Crudel! Perché finora farmi languir così? (Conte, Susanna) - Act 3
1:04:23 Recitativo ed aria: Hai già vinta la causa!... Vedrò, mentr'io sospiro (Conte)
1:09:07 Sestetto: Riconosci in quest'amplesso
(Marcellina, Figaro, Bartolo, Curzio, Conte, Susanna)
1:13:48 Recitativo ed aria: E Susanna non vien!,.. Dove sono (Contessa)
1:20:40 Duettino: ...sull'aria - Che soave zefiretto (Susanna, Contessa)
1:23:34 Coro: Ricevete, o padroncina (Chorus)
1:24:52 Finale: Ecco la marcia... Amanti costanti
(Figaro, Susanna, Conte, Contessa, Due ragazze, Chorus)
1:31:33 Recitativo ed aria: Tutto è disposto... Aprite un po' quegli occhi (Figaro) - Act 4
1:35:50 Recitativo ed aria: Giunse alfin il momento... Deh, vieni, non tardar (Susanna)
1:41:30 Pian, pianin, le andrò più presso (Cherubino, Contessa, Conte, Susanna, Figaro)
1:47:13 Tutto è tranquillo e placido (Figaro, Susanna)
1:50:51 Pace, pace, mio dolce tesoro (Figaro, Conte, Susanna)
1:52:36 Gente, gente, all'armi, all'armi! (Tutti)
Figaro: WILLI DOMGRAF-FASSBAENDER
Susanna: AUDREY MILDMAY
Count: ROY HENDERSON
Countess: AULIKKI RAUTAWAARA
Cherubino:,LUISE HELLETSGRUBER
Marcellina: CONSTANCE WILLIS
Bartolo: NORMAN ALLIN (1934), ITALO TAJO (1935)
Don Basilio: HEDDLE NASH
Curzio: MORGAN JONES
Antonio: FERGUS DUNLOP
Barbarina: WINIFRED RADFORD
Glyndebourne Festival Chorus and Orchestra
Conductor: FRITZ BUSCH
Recorded in 1934-35, at Glyndebourne
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Mozart's rise to popularity is often dated from the sesquicentenary of his death, in 1941. But even before that watershed, a few noble souls took him seriously, and not least among them were two remarkable German brothers, the conductor Fritz Busch and the violinist and composer Adolf Busch.
They were born in Siegen, Westphalia, Fritz on 13 March 1890 and Adolf a year later. Their father Wilhelm made and repaired stringed instruments: the boys had the run of his shop and learnt to play tiny fiddles he had made. Even as a toddler, Fritz would set up several chairs in a row and stand before them on a footstool to conduct an imaginary orchestra. Soon he gravitated to the piano while Adolf kept to the violin. At weekends they would accompany Wilhelm on treks round the Rhineland pubs and clubs, playing for dancing. Far from putting them off, this rough and ready training gave them a fierce love for music. In 1902 Adolf, who had found a patron, entered the Cologne Conservatory; and Fritz followed in 1906, studying harmony and counterpoint with Otto Klauwell, piano with Karl Boettcher and Lazzaro Uzielli - a pupil of Clara Schumann - and conducting with Brahms's favourite interpreter Fritz Steinbach. He became a good enough pianist to be Adolf's regular sonata partner until the early 1920s, and he played the instrument to the end of his life; but conducting was his goal. He learnt much from observing Steinbach, Arthur Nikisch and Felix Weingartner.
On 28 December 1908 Busch made his public conducting debut at Trier. His rise was rapid: Riga (1909); summers at Bad Pyrmont (1909-12); Gotha (1911-12); Aachen (1912-18, with a break for war service); Stuttgart (1918-22); and Dresden (1922-33). He was especialIy associated with Mozart and with the Verdi revival.
In 1932 he collaborated with Carl Ebert in Mozart's Die Entführung at Salzburg, and later that year they presented Un ballo in maschera at the Berlin Städtische Oper with sets by Caspar Neher, to acclaim. On Hitler's coming to power in 1933, Busch was ousted from Dresden and, like his brother Adolf, felt obliged to leave Germany. He went first to Buenos Aires, to conduct the German part of the opera season and a concert series at the Teatro Colön: he was a welcome visitor from then on and even took Argentine citizenship. Copenhagen, where he made his home, and Glyndebourne also predominated in Busch's career: he helped to build up the Danish State Radio Symphony Orchestra; and with the Glyndebourne summer festivals, which he and Ebert directed from 1934, he changed the face of opera in Britain. From 1937 Busch was also chief conductor of the Konsertföreningen in Stockholm. In 1940, after a triumphant run of Cosi fan tutte at the Royal Opera there, he and his family travelled via Moscow, Vladivostok and Japan to Buenos Aires; and for the rest of the War he worked in South or North America. In 1941-42 he joined the New Opera Company in New York and gave concerts with the Philharmonic-Symphony.
In 1945 he made the first of 69 Metropolitan Opera appearances. At the War's end, he went back to Stockholm for opera and Copenhagen for concerts. In 1950 he returned to Glyndebourne, scored a triumph at the Edinburgh Festival with his Danish orchestra and made his Vienna State Opera debut with Otello. In February 1951, on his first visit to Germany for almost 18 years, he conducted concerts in Hamburg and Cologne, as well as a recording of Un ballo in maschera for the Radio. That summer at Glyndebourne he presided over all three Mozart-Da Ponte operas and Idomeneo. His last appearances were made with the Glyndebourne company at the 1951 Edinburgh Festival: fittingly he conducted Verdi and Mozart and his final performance was of Don Giovanni. Six days later, on 14 September, he died suddenly in London.
The Glyndebourne connection came about because, in November 1933, brother Adolf and his unofficial English agent and chauffeuse Frances Dakyns were in Eastbourne for a concert. They lunched and stayed the night with Rosamund Stutchbury at her home Gayles Orchard and on hearing that an eccentric former Eton housemaster, John Christie, had built an opera house in his garden and planned to present Mozart, Adolf said Fritz must be engaged because 'if anyone can conduct Mozart operas, he can'.
The first festival was modest, opening on 28 May 1934 with Le nozze di Figaro and alternating it for a fortnight with Cosi fan tutte. Two concerts were given, with Adolf Busch and Rudolf Serkin as soloists. Most of the audience came down from London on a special train and once word spread, Glyndebourne became a hot ticket. In those early days all the actual participants were able to stay with the Christies. It was tacitly accepted that Mrs Christie, Canadian soprano Audrey Mildmay, would play a leading role, so she was a rather genteel Susanna in Figaro. The star was the great German baritone Willi Domgraf-Fassbaender, who sang Figaro and Guglielmo in Cosi - he and Heddle Nash, who had both studied in Milan with Giuseppe Borgatti, blended beautifully. Six nationalities were involved in Figaro, five in cos). Busch and Ebert had hired singers who looked good on stage and could act, including the Finn Aulikki Rautawaara, the Austrian Luise Helletsgruber, the American Ina Souez and the Czech Irene Eisinger. Among the Britons, besides Nash, were Roy Henderson and Norman Allin. Ironically the sole Italian, Vincenzo Bettoni who sang Don Alfonso, was the one singer not word-perfect. Having made live test records of a performance at the end of May, on 6 June an HMV team under David Bicknell recorded just the ensembles from Figaro in the theatre, as Volume 1 of the Mozart Opera Society series. The festival showed a £ 7,ooo deficit but was judged a success, although the strain caused Busch to suffer a heart attack not long afterwards.
Wolfgang Amadeus Mozart PLAYLIST (reference recordings): ua-cam.com/video/gIgg_QUVV04/v-deo.html
Axf
Glyndebourne’s founders, John Christie and wife Audrey Mildmay, opened the first Festival here in 1934. Today our world-renowned auditorium and standards of excellence are testament to John’s original ethos: Not just the best we can do but the best that can be done anywhere.
In the years that followed, Glyndebourne continued to be headed by the Christie family, George Christie following in 1962 and then his son Gus, now Executive Chairman, in 2000.
Early years of the Glyndebourne Festival revolved almost entirely around Mozart’s extensive repertoire of operatic works before gradually expanding to include works by other composers such as Benjamin Britten, with whom Glyndebourne has enjoyed long association, as well as Giuseppe Verdi, Gioachino Rossini and many others.
Originally the theatre was built to seat 300. It was enlarged and improved many times in subsequent years to hold larger audiences; such was the demand for opera at Glyndebourne. By 1977, it held 850 people.
By the 1990s it was clear that Glyndebourne needed an even larger auditorium so in 1994 a new opera house was built to seat 1,200, opening with a performance of Mozart’s Le nozze di Figaro, a fitting tribute to the Festival’s origins.
Today Glyndebourne reaches around 150,000 people a year with over 120 live opera performances. Its continued employment of inspirational directors, world-class orchestras and performers, and the ongoing drive to commission new work, now go hand in hand with digital innovations such as online streamings to reach new audiences.
Mozart's rise to popularity is often dated from the sesquicentenary of his death, in 1941. But even before that watershed, a few noble souls took him seriously, and not least among them were two remarkable German brothers, the conductor Fritz Busch and the violinist and composer Adolf Busch.
They were born in Siegen, Westphalia, Fritz on 13 March 1890 and Adolf a year later. Their father Wilhelm made and repaired stringed instruments: the boys had the run of his shop and learnt to play tiny fiddles he had made. Even as a toddler, Fritz would set up several chairs in a row and stand before them on a footstool to conduct an imaginary orchestra. Soon he gravitated to the piano while Adolf kept to the violin. At weekends they would accompany Wilhelm on treks round the Rhineland pubs and clubs, playing for dancing. Far from putting them off, this rough and ready training gave them a fierce love for music. In 1902 Adolf, who had found a patron, entered the Cologne Conservatory; and Fritz followed in 1906, studying harmony and counterpoint with Otto Klauwell, piano with Karl Boettcher and Lazzaro Uzielli - a pupil of Clara Schumann - and conducting with Brahms's favourite interpreter Fritz Steinbach. He became a good enough pianist to be Adolf's regular sonata partner until the early 1920s, and he played the instrument to the end of his life; but conducting was his goal. He learnt much from observing Steinbach, Arthur Nikisch and Felix Weingartner.
On 28 December 1908 Busch made his public conducting debut at Trier. His rise was rapid: Riga (1909); summers at Bad Pyrmont (1909-12); Gotha (1911-12); Aachen (1912-18, with a break for war service); Stuttgart (1918-22); and Dresden (1922-33). He was especialIy associated with Mozart and with the Verdi revival.
In 1932 he collaborated with Carl Ebert in Mozart's Die Entführung at Salzburg, and later that year they presented Un ballo in maschera at the Berlin Städtische Oper with sets by Caspar Neher, to acclaim. On Hitler's coming to power in 1933, Busch was ousted from Dresden and, like his brother Adolf, felt obliged to leave Germany. He went first to Buenos Aires, to conduct the German part of the opera season and a concert series at the Teatro Colön: he was a welcome visitor from then on and even took Argentine citizenship. Copenhagen, where he made his home, and Glyndebourne also predominated in Busch's career: he helped to build up the Danish State Radio Symphony Orchestra; and with the Glyndebourne summer festivals, which he and Ebert directed from 1934, he changed the face of opera in Britain. From 1937 Busch was also chief conductor of the Konsertföreningen in Stockholm. In 1940, after a triumphant run of Cosi fan tutte at the Royal Opera there, he and his family travelled via Moscow, Vladivostok and Japan to Buenos Aires; and for the rest of the War he worked in South or North America. In 1941-42 he joined the New Opera Company in New York and gave concerts with the Philharmonic-Symphony.
In 1945 he made the first of 69 Metropolitan Opera appearances. At the War's end, he went back to Stockholm for opera and Copenhagen for concerts. In 1950 he returned to Glyndebourne, scored a triumph at the Edinburgh Festival with his Danish orchestra and made his Vienna State Opera debut with Otello. In February 1951, on his first visit to Germany for almost 18 years, he conducted concerts in Hamburg and Cologne, as well as a recording of Un ballo in maschera for the Radio. That summer at Glyndebourne he presided over all three Mozart-Da Ponte operas and Idomeneo. His last appearances were made with the Glyndebourne company at the 1951 Edinburgh Festival: fittingly he conducted Verdi and Mozart and his final performance was of Don Giovanni. Six days later, on 14 September, he died suddenly in London.
The Glyndebourne connection came about because, in November 1933, brother Adolf and his unofficial English agent and chauffeuse Frances Dakyns were in Eastbourne for a concert. They lunched and stayed the night with Rosamund Stutchbury at her home Gayles Orchard and on hearing that an eccentric former Eton housemaster, John Christie, had built an opera house in his garden and planned to present Mozart, Adolf said Fritz must be engaged because 'if anyone can conduct Mozart operas, he can'.
The first festival was modest, opening on 28 May 1934 with Le nozze di Figaro and alternating it for a fortnight with Cosi fan tutte. Two concerts were given, with Adolf Busch and Rudolf Serkin as soloists. Most of the audience came down from London on a special train and once word spread, Glyndebourne became a hot ticket. In those early days all the actual participants were able to stay with the Christies. It was tacitly accepted that Mrs Christie, Canadian soprano Audrey Mildmay, would play a leading role, so she was a rather genteel Susanna in Figaro. The star was the great German baritone Willi Domgraf-Fassbaender, who sang Figaro and Guglielmo in Cosi - he and Heddle Nash, who had both studied in Milan with Giuseppe Borgatti, blended beautifully. Six nationalities were involved in Figaro, five in cos). Busch and Ebert had hired singers who looked good on stage and could act, including the Finn Aulikki Rautawaara, the Austrian Luise Helletsgruber, the American Ina Souez and the Czech Irene Eisinger. Among the Britons, besides Nash, were Roy Henderson and Norman Allin. Ironically the sole Italian, Vincenzo Bettoni who sang Don Alfonso, was the one singer not word-perfect. Having made live test records of a performance at the end of May, on 6 June an HMV team under David Bicknell recorded just the ensembles from Figaro in the theatre, as Volume 1 of the Mozart Opera Society series. The festival showed a £ 7,ooo deficit but was judged a success, although the strain caused Busch to suffer a heart attack not long afterwards.
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fantastic remastering. Thanks
Busch family - the gods!
Lebhafte und wunderschöne Interpretation dieser perfekt komponierten Oper mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie herrlichen Stimmen aller genialen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors. Der intelligente und erfahrene Dirigent leitet das perfekt trainierte Orchester im relativ schnellen Tempo und mit effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als Originalaufnahmen von Vorkriegsjahren 1934-35. Alles ist wunderbar!
This performance has worn well - excellent singers, masterfully conducted by Busch etc. The only thing that makes it sound dated is the use of piano instead of harpsichord continuo. Congratulations on an excellent restoration.
What a sound my friend, soprattutto le voci.
I agree, incredible fidelity for this age
La ópera más ingeniosa de toda la historia de la ópera
Спасибо, это великолепно! Я очень люблю Моцарта.
Merci
Sir, this not recording of the century, it is recording of the millenium, once again thank You!
You're right, it's eternal, a millennial recording!
*İnsanı dâhi Mozart'ın eşliğinde büyüleyici âlemlere götüren harika bir yorum; minnettarız!* 👏🎼🎵👏🎶🤝🙏
Astonishing how much shape Busch gave to the overture despite the exhilarating pace.
Magnifiques
🎶🎶
I wonder how many 78 rpm vinyl records take to record this opera.
Où sont passés les récitatifs ?
À l'époque ce n'était pas de mise hélas, question précaire d'enregistrement, comme la version Karajan de 1950 à Vienne sans doute la meilleure jamais réalisée mais sans récitatifs ce qui la disqualifie plus ou moins
"Le noce di Figgaro"?!... What language is it?!... LE NOZZE DI FIGARO (Le nozze di Figaro)...
Le francais😇
@@robertssje Pas du tout... LES NOCES DE FIGARO, c'est en francais...
Not the best performance, Orchestra, or singers
The orchestra is terrible