Mozart, Wolfgang Amadeus

Baby Einstein - Baby Mozart - Music Festival

It's called "the Mozart Effect," the notion that exposing youngsters to the melodies of the maestro can improve verbal ability, spatial intelligence, creativity, and memory. It's a pretty big leap of faith to understand that effect unless you personally see a toddler react to the stimulation. The Baby Einstein folks have a series of tapes (Baby Einstein, Baby Bach) that add visual stimulation to the bouncy recordings (using vibraphone, Rhodes electric piano, and even a glockenspiel). The melodies are heard against colorful imagery of spinning tops, wave machines, soft baby toys, mobiles, and the like. Several parenting groups and magazines have heralded the tapes for children 1 to 36 months, but the Orwellian aspect of introducing babes in arms to the TV screen may cause many to just pick up the CD. --Doug Thomas

A trusted, award-winning musical banquet for little eyes and ears!
-- Exposes babies to the brilliance of Mozart's music
-- Provides captivating visual stimulation
As your baby grows, and the world beckons with amazing things to see, hear and do, every moment of every day provides a brand-new opportunity for discovery. It's an incredible journey you'll embark on together, and to accompany you along the way there's BABY MOZART™ MUSIC FESTIVAL. Acclaimed by parents, this vibrant, award-winning musical feast for little eyes and ears exposes babies to the splendor and delight of classical music. Treat yourself and your little one to mesmerizing, multi colored images accompanied by enchanting versions of Wolfgang Amadeus Mozart's most popular compositions. It's a fun way to share the joy of discovering music -- and the world -- together!

DVD Features
-- Repeat play
-- Language tracks (Spanish, French and English)
-- Discovery cards
-- Puppet shows
-- Toy chest

Mozart /Chopin/Rachmaninov: Richter - Classic Archive

Most of this DVD was made at a 1989 London concert filmed by the BBC. The 74-year-old Richter insisted on a darkened hall, a 40-watt gooseneck lamp trained on the music stand the only light source on stage while he played. His purpose was to focus audience attention on the music, not on the performer. Whatever the intention, the results can be compared to a mystical ceremony, the pianist as High Priest invoking musical truths. This ceremonial aspect of the concert is heightened by Richter's austere platform manner and the black backgrounds that engulf the picture. Fortunately, the BBC crew was able to capture closeups of Richter's hands on the keyboard, giving us lessons in finger control, dynamic gradations, and legato playing. To see how Richter accomplishes these and other effects is priceless. But whatever idiosyncrasies were part of Richter's rare concertizing in his last years, the musical performances are extraordinary. Richter's Mozart was unique in its tempo variations and his infusion of strong Romantic overtones, digging deep into the inner dramas of the scores. His E Flat Major Sonata, K.282, for example, begins slowly but gains depth and gravity via his powerful bass line, while In the C Major, K.545, Richter's Andante sings soulfully. The A Minor Sonata, K. 310, perhaps Mozart's greatest, has great cumulative power while the slow movement becomes a tragic operatic aria in all but name. The Chopin works, selected Etudes, take that composer out of the drawing room and into the larger frame of full-blooded Romanticism. In Opus 10, No. 2 we see Richter's scintillating right hand figures while Op. 10, No. 4 is a pianistic version of shock and awe, especially after the songful No.3, and watching Richter in the finger-breaker of Op. 25, No.8 is riveting. A black-and-white bonus of three short works by Rachmaninov and Chopin show Richter 20 years younger, the playing as extraordinary, the body language and facial expressions far more mobile, making a fitting close to a DVD all admirers of great pianism will want. --Dan Davis

Mozart: Le Nozze di Figaro

Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden

It's hard to find a DVD version of Mozart's Die Zauberflöte that's as well sung as this 2003 Covent Garden production. Led by the eminent Mozartian, Sir Colin Davis, orchestra and singers present a warm, often intense vision of the opera, not as the fairy tale it's often taken for, but as a human drama of the passage from misguided beliefs to mature knowledge of self. Diana Damrau is the Queen of the Night for our time, with show-stopping bravura singing that tosses off the score's terrifying high notes with almost casual abandon. Her acting and her fright outfit never leave you in doubt that she's the evil presence here, even when she's pretending to be a good mom concerned about her daughter, Pamina. Dorothea Röschmann is superb, floating pianissimo notes to die for and singing with a beautifully rounded soprano allied to a dramatic sense that make her Ach, ich fuhl's so moving. Will Hartman is a virile Tamino, a bit heavier of voice than most of the lyric tenors who take the role, but singing well. Like most Tamino's, he's upstaged by Papageno, the bird-catcher who's his sidekick. Baritone Simon Keenlyside offers the best-sung Papageno one could hope to hear, and while he's funny in many of his more physical scenes, he replaces the usual clownish buffoon with an earth-bound Everyman. The noble Sarastro, the lovers' guide to self-realization, is well sung by Franz-Josef Selig, whose ample bass easily encompasses the low Fs that make most basses sound strained.

The smaller roles are done well, too. Ailish Tynan has a romp as Papagena; the evil Monostatos is done to vocal and acting perfection by Adrian Thompson, the Queen's Three Ladies are well-matched and appropriately edgy, and the Temple Priests are convincingly sung and acted. This production of Die Zauberflöte is a dark one. Producer David McVicar and conductor Davis reject the relatively recent transformation of the opera into a Disney-like romp for kids. The comic element in the opera is there, but its philosophical underpinnings--humanity's fitful progress to a higher plane - are paramount. There are still plenty of laughs with the fake dragon that pursues Tamino at the opera's opening and Papageno's funny business with a bird, among other chuckle-inducing scenes. But the production's Stygian backgrounds make for an oppressive setting. When light enters, as in the pomp of Sarastro's entry or the blazing yellow disc of the sun that conquers darkness, the opera's meanings are crystal-clear. Most of the characters wear 18th Century outfits, to comic effect as Monostatos' heavy makeup, lipsticked mouth, and elaborate wig. But there are occasional incongruities: Tamino's smock, the Three Boys' knit sweaters and short pants, and Papagana's mangy fur coat, among others. They're well intregrated into the staging so they don't jar. Nor, aside from the occasional too-tight closeups, does the video direction. In the special features, Davis speaks of the opera's tension between "lighthearted music and the seriousness of the story," and all elements of this production fuse those key aspects in a way that makes this DVD a joy to hear and watch. Dan Davis

Die Zauberflöte is an all-regions 2-disc set in 16:9 ratio. Sound options include Dolby Stereo and 5.1 Surround. Sung in German with subtitles in English and Spanish. Extras include an illustrated synopsis, a behind the scenes feature of the production, and Sir Colin Davis talking about Die Zauberflöte

The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar's 2003 production of Mozart's last opera, recorded in sumptuous surround sound live at Covent Garden.

SPECIAL FEATURES:
• Behind the Scenes
• Conductor Sir Colin Davis talks about Die Zauberflöte
• Illustrated Synopsis of the opera

Mozart - Die Zauberflöte (The Magic Flute)

Baby Mozart

Discover the joy of classical music together with your baby! Pique your little one's curiosity with Mozart's most popular works - including "Twinkle, Twinkle Little Star" - delightfully reorchestrated for little ears. Experience soothing music, baby-friendly real-life images and enchanting puppet shows that captivate your baby. Bring a symphony of sights and sounds into your home and share new discoveries every day with Baby Mozart.

Mozart - Le Nozze di Figaro (The Marriage of Figaro)

Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Among dozens of fine Figaros on CD and DVD, few are as finely sung as this one, filmed in 1976 to a soundtrack recorded the previous year.

Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.

The problematic visuals though, don't match the musical attributes of this Figaro. Director Jean-Pierre Ponnelle says film techniques of editing and special effects permit added musical and interpretive components. So we get nervously irrelevant camera movements, distorted close-ups, jump-cuts that place singers in impossible places during arias, and--most distracting of all--arias on the soundtrack while the "singer" stares close-mouthed at walls, ceilings, and furnishings. Try Te Kanawa's beautifully sung "Porgi amor" to see how this distracting technique subverts the music, rather than "complementing" it. Of course, this may not bother many but others will prefer to listen to the glorious soundtrack and give Ponnelle's directorial hubris a pass. --Dan Davis

Mozart - Cosi fan Tutte

Mozart - Le Nozze di Figaro

Beethoven, Mozart & Brahms Piano Concertos

• A terrific collection of five great piano concertos performed by Maurizio Pollini, one of the 20th centuries great virtuosos. • Filmed with the Vienna Philharmonic in the 1970s at the beautiful Musikverein in Vienna. • Karl Böhm conducts the Beethoven and Mozart concertos, while Claudio Abbado reads the Brahms.

TRACK LIST DVD1: Beethoven: Piano Concerto No. 3, op 37 Piano Concerto No. 5, op 73 "Emperor" Vienna Philharmonic Karl Böhm, conductor DVD2: Mozart: Piano Concerto No. 19, KV 459 Piano Concerto No. 23, KV 488 Vienna Philharmonic Karl Böhm, conductor

Brahms: Piano Concerto No. 2 in B-flat major, op. 83 Vienna Philharmonic Claudio Abbado, conductor