Mozart 250th Anniversary Edition: Operas III by Nikolaus Harnoncourt was released 2010 on the Warner Classics label. Mozart 250th Anniversary Edition: Operas III is a 9-disc set.
This disc of Mozart's opera arias manages to capture the perfection of Kathleen Battle's first disc of Mozart concert arias conducted under Previn. We are accorded the opportunity and privilege to hear Ms. Battle essay characters that she never did in the opera house, Constanze, Cherubino, and the Countess among them. In "Porgi amor," the CD's opening track, she negotiates the long passages of the Countess' aria with seeming ease. Hers is a smaller voice than we are used to hearing in the role but this is unimportant as her vocal acting is superb, bringing the heartache housed in the libretto fully to life…By M. Bish
It was only a matter of time before William Christie got around to recording Mozart's delightful 1782 singspiel, and the results are very happy indeed. Period instruments are just right for the raucous "Turkish" music Mozart composed for Entführung, and they go very nicely with the light voices Christie has chosen as well. Most successful is the Belmonte of tenor Ian Bostridge, already famous for his lieder singing.
Critical acclaim for this superb co-production of Vienna's Staatsoper, the Wiener Festwochen and Brussels' Théâtre de la Monnaie (Das Opernglas): "Directors Ursel and Karl-Ernst Herrmann, working with Nikolaus Harnoncourt, demonstrate that the 'Entführung' is fully on the level of Mozart's Da Ponte operas and 'Zauberflöte'. In the harmony of staging and music, this is one of the most impressive Mozart performances Vienna has offered in a long time… Breaking with tradition, it seeks to fulfil his intentions as closely as possible."
Set in the exotic seraglio of the Pasha Selim, the story revolves around the rescue of the lovely Constanze by her lover Belmonte – a tale of love, bravery and forgiveness. In this work, Mozart breaks new ground in introducing dramatically rounded characters with recognisably human feelings and weaknesses. The work influenced and changed the nature of opera throughout Europe. This charming production from Drottningholm does full justice to Mozart’s score. Arnold Östman’s deliberate conducting combined with Carl Friedrich Oberle’s design demonstrates that this really is “an eternal masterpiece of music drama by a youthful, exuberant composer who suddenly found his individual voice and style in the field of opera with this particular work” (Opera now)
After the success of Così fan tutte and The Marriage of Figaro, René Jacobs' CD recording of this centrepiece of the Mozart/Da Ponte trilogy offered us his reflections on Classical opera and garnered serious acclaim worldwide. Performed at the Innsbruck festival in August 2006 and filmed in Baden-Baden, this production is nourished by his thoughts on Don Giovanni as taboo-breaker but still respects Mozart's intentions as closely as possible.
In the documentary Looking for Don Giovanni, the director Nayo Titzin follows the creation of this production in the search for musical truth.