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A time travel through the recording history of Cosí fan tutte. It begins with the legendary documents made at the Glyndebourne Festival under Fritz Busch. In both cases, extraordinary singers were called upon to sing Fiordiligi: Ina Souez in 1935 and Sena Jurinac in 1951 (here in dialogue with virtuoso horn player Dennis Brain). In 1954 Karajan's only interpretation of the work was made in London, with an ensemble of singers offering chamber music at its finest (prime example: the tercet »Soave sia il vento«). With two studio recordings and at least seven recordings, Karl Böhm is the central conductor in the history of recording and reception. For this playlist we have chosen highlights from 1955 and 1962. The recording under Otto Klemperer (1971) remains quite a special case because of its extremely broad tempi. Direct comparison with the production made 14 years later under Arniold Östman is illuminating. Östman marks the beginning of the era of »historically informed recordings,« whose exponents are Nikolaus Harnoncourt (1991), Sigiswald Kujken (1992), John Eliot Gardiner (1992), and René Jacobs (1999). Their recordings have set strong accents in a wide variety of ways, as have the conductors of the most recent studio recordings, Yannick Nézet-Séguin and Teodor Currentzis (2012).  At the end of the journey through time is a special constellation of singers: Cecilia Bartoli and Bryn Terfel with the duet »Il cor vi dono«.

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