# Round Two: Mozart- Resta, o cara. Margaret Price and Edda Moser



## Seattleoperafan (Mar 24, 2013)

I don't have any additional contestants planned.




Resta, O Cara. Margaret Price · Wolfgang Amadeus Mozart




Aria, Resta, oh Cara, K. 528 · Edda Moser · Staatskapelle Dresden · Herbert Blomstedt


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## Woodduck (Mar 17, 2014)

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## MAS (Apr 15, 2015)

I was happy to get recordings by these two singers in their day. I remember wanting Edda Moser’s new recording of Mozart Concert Arias and trading for it with the record store’s clerks. Her rather intense singing could be very exciting in the house, but for repeated listening it could be wearying. Her fearless high notes were also thrilling.

I don’t recall Margaret Price’s recording of this aria, but it must’ve been one I did not listen to as often as the other Concert Arias. RCA released the Operatic Arias álbum a couple of years before the Concert Arias one and decades later combined the two in one CD. Price’s version is more grateful in the ear than Moser’s and so gets my vote.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> The above Margaret Price is the recitative "Bella mia fiamma." Here is "Resta, o cara":


Thanks for catching that. Don't say Resta, O Cara in the title on Youtube if you are not that please!!! I changed it.


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## Woodduck (Mar 17, 2014)

The more i hear this aria the weirder it gets. All those falling chromatic sequences! The words translate roughly as follows:

*Stay my beloved
A cruel death takes me from you, Oh God!

Look after her
Comfort her.

I go, alas, farewell
farewell forever.

This distressing situation
is hard to bear.
Where is the temple, where is the altar?

Come revenge, be quick
This bitter life
Can be borne no longer.

Goodbye forever! *

I have to admit that Mozart's music doesn't suggest anything like this to me. Honestly, I have no idea what it suggests, except perhaps one drink too many during a late night game of skittles. Chromatic harmony occurs throughout the era of tonal music as a way of expressing extreme emotional states, from the Italian madrigalists on through Purcell and Bach to Wagner and Berg. Mozart evidently intended some such with this aria, but in its strange mix of erratic whimsy and formulaic rigidity it comes off more like a study in special effects than like a heartfelt expression. The following story of its composition (from Wiki) may provide some explanation.

*The composition of this aria was somewhat unusual; the following tale is attributed to Mozart's son Karl Thomas:[4]
*


> *Petranka [sic] is well-known as the villa in which Mozart enjoyed staying with his musician friends, the Duscheks, during his visit to Prague, and where he composed several numbers for his Don Juan [Don Giovanni]. On the summit of a hill near the villa stands a pavilion. In it, one day, Frau Duschek [the soprano who gave the first performance] slyly imprisoned the great Mozart, after having provided ink, pen, and notepaper, and told him that he was not to regain his freedom until he had written an aria he had promised her to the words bella mia fiamma addio. Mozart submitted himself to the necessary; but to avenge himself for the trick Frau Duschek had played on him, he used various difficult-to-sing passages in the aria, and threatened his despotic friend that he would immediately destroy the aria if she could not succeed in performing it at sight without mistakes*


Evidently Frau Duschek sang the aria to Mozart's satisfaction.

Edda Moser has a dramatic "rip" in her upper range that made her a terrific Queen of the Night. Her sopranosquillo can be a little wearing, but I can deal with that for six or seven minutes. Margaret Price, vocally, is Countess Almaviva rather than the Queen of the Night. She brings an appealing pathos to this aria where the music seems to call for it, all the while sounding as pure as the driven snow. I guess I prefer her slightly to Moser.


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## hammeredklavier (Feb 18, 2018)

Woodduck said:


> Honestly, I have no idea what it suggests, except perhaps one drink too many during a late night game of *skittles*.


Everytime you use the word, this comes to mind (for me, probably because I was born in the 90s)











Woodduck said:


> Mozart evidently intended some such with this aria, but in its strange mix of erratic whimsy and formulaic rigidity it comes off more like a study in special effects than like a heartfelt expression.


You're right. It's kind of like, for example,


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## Woodduck (Mar 17, 2014)

hammeredklavier said:


> Everytime you use the word, this comes to mind (probably because I was born in the 90s)
> 
> 
> 
> ...


Mozart did have a playful, experimental side. He enjoyed occasionally doing something shocking in the context of "normal" procedures. But at his best he manages to make his more startling ideas sound fully integral. There's that amazing chromatic passage in the middle of the adagio of the D major string quintet, which sounds shocking yet perfectly at home among the unsettling chromatic modulations that pervade the work:






One of the most striking movements by Mozart or anyone else, IMO. "Resta, o cara" is just fooling around by comparison.


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## Tsaraslondon (Nov 7, 2013)

Both of these performances are, I would suggest, a step up from the previous two and both bring a deal more character to the music than Te Kanawa. They also sound a good deal more comfortable with Mozart and the high tesstitrua of this aria than Leontyne.

The difficulty is separating two such accomplished performances. Price has the more grateful sould and her singing is absolutely gorgeous, especially in the more lyrical, slower section. Moser has a slight edge to her tone but responds magnificently to the more dramatic second section.

O sort of wish the two singers had been pitched against the other two as I feel sure both would have won. As it is, I have to choose one and I think I'm going for Price - just.


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## ColdGenius (9 mo ago)

This is Josepha Duschek (Josefina Duskova), wife of a composer and harpsichordist Frantisek Duskov. Their villa (really Bertramka) still exist in Prague, now in city borders.


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## Viardots (Oct 4, 2014)

Margaret Price, by a hairbreadth.

A side point about Margaret Price. For me she is one of the great Mozart sopranos of the 20th century and THE Countess. Her Countess Almaviva is heard at her very best and peak of her powers in a live performance at the Bavarian State Opera conducted by Karl Böhm in 1977 (unfortunately not available on YouTube), where she is simply magnificent - vocally gleaming, resplendent and emotionally potent. For me only Elisabeth Grümmer (radio broadcast in Cologne with Ferenc Fricsay in 1951 and a live performance in Tokyo in 1963 conducted by Böhm) equals her. Even Te Kanawa pales in comparison and Schwarzkopf sounds artful and arch besides Price (and Grümmer). The usually reticent Munich audience went crazy after Price's "Dove Sono", cheering thunderously and stamping their feet, virtually bringing the house down, as though they felt they were experiencing a phenomenon that could only happen once in their lifetime.



The 1977 Munich performance of _Figaro_ can be purchased at Operadepot.


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## ColdGenius (9 mo ago)

I feel so sorry that Edda Moser loses this round. She was wonderful, unforgettable Königin der Nacht. Perhaps here she's caught not in her best. Her high notes seemed metallic. That mustn't sound like a final diagnosis and distract us from a great artist. 
Margaret Price nevertheless showed a cosmic level. It's probably what Pani Dusek has done: turned a nice little thing into something more.


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## Seattleoperafan (Mar 24, 2013)

Viardots said:


> Margaret Price, by a hairbreadth.
> 
> A side point about Margaret Price. For me she is one of the great Mozart sopranos of the 20th century and THE Countess. Her Countess Almaviva is heard at her very best and peak of her powers in a live performance at the Bavarian State Opera conducted by Karl Böhm in 1977 (unfortunately not available on YouTube), where she is simply magnificent - vocally gleaming, resplendent and emotionally potent. For me only Elisabeth Grümmer (radio broadcast in Cologne with Ferenc Fricsay in 1951 and a live performance in Tokyo in 1963 conducted by Böhm) equals her. Even Te Kanawa pales in comparison and Schwarzkopf sounds artful and arch besides Price (and Grümmer). The usually reticent Munich audience went crazy after Price's "Dove Sono", cheering thunderously and stamping their feet, virtually bringing the house down, as though they felt they were experiencing a phenomenon that could only happen once in their lifetime.
> 
> ...


Wonderful details!!!!!!!!!!! I listened to Te Kanawa in Cosi fan Tutti yesterday. Her singing was gorgeous but to me it is not a very individualistic sound, despite her great fame.


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## Seattleoperafan (Mar 24, 2013)

ColdGenius said:


> I feel so sorry that Edda Moser loses this round. She was wonderful, unforgettable Königin der Nacht. Perhaps here she's caught not in her best. Her high notes seemed metallic. That mustn't sound like a final diagnosis and distract us from a great artist.
> Margaret Price nevertheless showed a cosmic level. It's probably what Pani Dusek has done: turned a nice little thing into something more.


M. Price might be the Maria Callas of Mozart and win all


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## MAS (Apr 15, 2015)

Does anyone remember Edda Moser was Donna Anna in Joseph Losey’s film *Don Giovanni*? Kiri Te Kanawa was the Donna Elvira.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> Price has the more grateful sould and her singing is absolutely gorgeous, especially in the more lyrical, slower section.


Listening to Price's exquisite singing of Mozart, I caught myself wondering how she ended up recording Isolde for Carlos Kleiber. The answer came immediately: _the microphone! _With the help of technology, she makes a lovely pseudo-_hochdramatische sopran_. But it's nice to have her here where she belongs.


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## Woodduck (Mar 17, 2014)

MAS said:


> Does anyone remember Edda Moser was Donna Anna in Joseph Losey’s film *Don Giovanni*? Kiri Te Kanawa was the Donna Elvira.


I haven't seen that, but Moser sounds as if she'd be fine as either Anna or Elvira. Strenuous complainers both.


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## Viardots (Oct 4, 2014)

Seattleoperafan said:


> Wonderful details!!!!!!!!!!! I listened to Te Kanawa in Cosi fan Tutti yesterday. Her singing was gorgeous but to me it is not a very individualistic sound, despite her great fame.


If there is anything suitable that can be used to describe Te Kanawa's voice and singing, it's whipped cream and I think you will know what this means.


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## nina foresti (Mar 11, 2014)

I shall sit in my own little corner where it is comfy cozy and I shall keep the richer and more involved sounds of Edda Moser in my head even though Price did a fine job with a younger and gentler sound.


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## Tsaraslondon (Nov 7, 2013)

MAS said:


> Does anyone remember Edda Moser was Donna Anna in Joseph Losey’s film *Don Giovanni*? Kiri Te Kanawa was the Donna Elvira.


Yes, of course. And she both looked and sounded terrific. I have a Mozart disc of hers which is basically a compilation of arias taken from complete sets. She's fabulous as the Queen of the Night , Constanze and Electra.


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## The Conte (May 31, 2015)

Clever, now we have the other Price!

I'm neither a (M) Price fan nor a hater. I like her in Ballo and she recorded an excellent disc of Schubert (or was it Schumann) Lieder. She sounds out of sorts to my ear here though. I much prefer the _other _Price in this one (the original and the best!) This doesn't sound particularly Mozartian to my ear and at least with Leontyne we had a gorgeous voice to keep our interest.

I haven't heard much by Moser and whilst I like her Queen of the Night, it isn't as awe inspiring as Studer's version. I have to say that I'm not a fan of this aria. (Now I know how Woodduck feels when having to listen to more than four versions of a verismo aria!) I find Moser bland, but she has more voice than Price so she wins by default.

N.


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## The Conte (May 31, 2015)

nina foresti said:


> I shall sit in my own little corner where it is comfy cozy and I shall keep the richer and more involved sounds of Edda Moser in my head even though Price did a fine job with a younger and gentler sound.


Can I come and join you in what I'm going to call "sanity corner"?

I still think Te Kanawa is the only version of this aria I would want to listen to again.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> Clever, now we have the other Price!
> 
> I'm neither a (M) Price fan nor a hater. I like her in Ballo and she recorded an excellent disc of Schubert (or was it Schumann) Lieder. She sounds out of sorts to my ear here though. I much prefer the _other _Price in this one (the original and the best!) This doesn't sound particularly Mozartian to my ear and at least with Leontyne we had a gorgeous voice to keep our interest.
> 
> ...


"More voice than Price?" For someone who heard Price in the theatre, (in Covent Garden, to be precise) I can only say that it was quite a large voice, that carried very well. Now I've never heard Moser live (though I do love her Mozart on disc) but nothing about how she sounds on record, nor her stage repertoire, would suggest that she had more voice than Price. I'm not dissing Moser, by the way, as I think she's very good indeed, even if ultimately I prefer M. Price. I have to say I thought both these ladies were better than both Te Kanawa and L. Price in the previous round.


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## nina foresti (Mar 11, 2014)

The Conte said:


> Can I come and join you in what I'm going to call "sanity corner"?
> 
> I still think Te Kanawa is the only version of this aria I would want to listen to again.
> 
> N.


Welcome. Free pinot noir and fine cheese. Bring wine glass.


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## Woodduck (Mar 17, 2014)

nina foresti said:


> Welcome. Free pinot noir and fine cheese. Bring wine glass.


Sounds great. I wish I were sane enough to join you.


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## ColdGenius (9 mo ago)

nina foresti said:


> Welcome. Free pinot noir and fine cheese. Bring wine glass.


So, did I vote for a wrong lady? I have a little Bourgogne too.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> "More voice than Price?" For someone who heard Price in the theatre, (in Covent Garden, to be precise) I can only say that it was quite a large voice, that carried very well. Now I've never heard Moser live (though I do love her Mozart on disc) but nothing about how she sounds on record, nor her stage repertoire, would suggest that she had more voice than Price. I'm not dissing Moser, by the way, as I think she's very good indeed, even if ultimately I prefer M. Price. I have to say I thought both these ladies were better than both Te Kanawa and L. Price in the previous round.


I haven't heard either live, but I wasn't talking in general. I'm only going on the basis of these two recordings. In fact, that's my general approach to these contests and that's why I sometimes choose singers I don't usually like even when up against one of my faves.

Getting back to Moser vs Price, I didn't say that Price didn't have "quite a large voice, that carried very well" nor did I say that she had less voice than Moser in general. (Price has a fuller tone in her Ballo recording and as Isolde, but there's something slighter to her tone than Moser in this aria.) Others here have noted the difference between the two in terms of vocal weight, but prefer the lighter of the two. My personal preference may differ, but I don't think I hear it that differently from some of the others who have voted.

N.


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