Mozart: Mitridate, re di Ponto Classical Opera & Ian Page

• Wolfgang Amadeus Mozart (1756 - 1791): Mitridate, re di Ponto, K. 87 (74a):
• 1Mitridate, re di Ponto, K. 87 (74a): Overture: Allegro02:03
• 2Mitridate, re di Ponto, K. 87 (74a): Overture: Andante grazioso01:48
• 3Mitridate, re di Ponto, K. 87 (74a): Overture: Presto01:23
• Mitridate, re di Ponto, K. 87 (74a), Act 1:
• 4Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 1: Recitative, "Vieni, Signor" [Arbate, Sifare]01:49
• 5Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 2: Recitative, "Se a me s'unisce Arbate" [Sifare, Aspasia]02:40
• 6Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 2: No. 1, Aria, "al destin, che la minaccia" [Aspasia]06:04
• 7Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 3: Recitative, "Qual tumulto nell'alma" [Sifare]01:06
• 8Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 3: No. 2, Aria, "Soffre il mio cor con pace" [Sifare]07:35
• 9Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 4: Recitative, "Sin a quando, o Regina" [Farnace, Aspasia]01:22
• 10Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 5: Recitative, "Ferma, o germano" [Sifare, Farnace, Aspasia]00:48
• 11Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 6: Recitative, "All'ire freno, Principi, olà" [Arbate, Sifare, Farnace]00:33
• 12Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 6: No. 3, Aria, "L'odio nel cor frenate" [Arbate]03:42
• 13Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 7: Recitative, "Principe, che facemmo!" [Farnace, Sifare, Aspasia]00:13
• 14Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 7: No. 4, Aria, "Nel sen mi palpita" [Aspasia]02:22
• 15Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 8: Recitative, "un tale addio, germano" [Farnace, Sifare]01:10
• 16Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 8: No. 5, Aria, "Parto, Nel gran cimento" [Sifare]03:57
• 17Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 9: Recitative, ”Eccovi in un momento sconvolti” [Farnace, Marzio]01:01
• 18Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 9: No. 6, Aria, ”Venga pur, minacci e frema” [Farnace]07:14
• 19Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 10: No. 7, Marcia, Maestoso02:45
• 20Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 10: No. 8, Cavata, "Se di lauri il crine adorno” [Mitridate]04:42
• 21Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 10: Recitative, ”Tu mi revedi, Arbate” [Mitridate, Ismene, Arbate]00:56
• 22Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 11: Recitative, ”Su la temuta destra” [Sifare, Mitridate, Farnace, Ismene]02:06
• 23Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 11: No. 9, Aria, ”In faccia all'oggetto” [Ismene]05:45
• 24Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 12: Recitative, ”Teme Ismene a ragion” [Mitridate, Arbate]02:29
• 25Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 13: Accompanied Recitative, ”Respira alfin, respira” [Mitridate]01:51
• 26Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 13: No. 10, Aria, “Quel ribelle e quell'ingrato” [Mitridate]03:10
• Mitridate, re di Ponto, K. 87 (74a), Act 2:
• 27Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 1: Recitative, “Questo è l'amor, Farnace” [Ismene, Farnace]01:55
• 28Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 1: No. 11, Aria, “Va, l'error mio palesa” [Farnace]02:43
• 29Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 2: Recitative, “Perfido, ascolta” [Ismene, Mitridate]00:54
• 30Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 3: Recitative, “Eccomi a' cenni tuoi” [Aspasia, Mitridate]02:05
• 31Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 4: Recitative, “Respiro, oh Dei!” [Aspasia, Sifare, Mitridate]00:37
• 32Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 4: No. 12, Aria, “Tu che fedel mi sei” [Mitridate]03:50
• 33Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 5: Recitative, “Che dirò? Che ascoltai?” [Sifare, Aspasia]01:14
• 34Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 6: Recitative, “Alla tua fede il padre, Sifare, applaude” [Arbate]00:32
• 35Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 7: Recitative, “Oh giorno di dolore!” [Aspasia, Sifare]01:58
• 36Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 7: Accompanied Recitative, “Non più, Regina” [Sifare, Aspasia]02:26
• 37Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 7: No. 13, Aria, “Lungi da te, mio bene” [Sifare]07:35
• 38Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 8: Accompanied Recitative, ”Grazie ai Numi partì” [Aspasia]01:28
• 39Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 8: No. 14, Aria, “Nel grave tormento” [Aspasia]04:11
• 40Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 9: Recitative, “Qui, dove la vendetta si prepara” [Mitridate, Ismene, Arbate]00:54
• 41Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 10: Recitative, “Sedete, o Prenci” [Mitridate, Sifare, Farnace]02:36
• 42Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 11: Recitative, “Signor, son io” [Marzio, Mitridate, Sifare]00:48
• 43Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 12: Recitative, “Inclita Ismene” [Mitridate, Ismene]00:18
• 44Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 12: No. 15, Aria, “so quanto a te dispiace” [Ismene]05:43
• 45Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 13: Recitative, “Ah, giacchè son tradito” [Farnace]00:35
• 46Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 13: No. 16, Aria, “Son reo; l'error confesso” [Farnace]02:48
• 47Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 14: Recitative, “e crederai, Signor” [Sifare, Mitridate, Aspasia]04:04
• 48Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 14: No. 17, Aria, “Già di pietà mi spoglio” [Mitridate]02:14
• 49Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 15: Recitative, “Sifare, per pietà stringi l'acciaro” [Aspasia, Sifare]01:22
• 50Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 15: Accompanied Recitative, “Io sposa di quel mostro” [Aspasia, Sifare]01:38
• 51Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 15: No. 18, Duet, “Se viver non degg'io” [Sifare, Aspasia]06:21
• Mitridate, re di Ponto, K. 87 (74a), Act 3:
• 52Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 1: Recitative, “Pera omai chi m'oltraggia” [Mitridate, Aspasia, Ismene]01:55
• 53Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 1: No. 19, Aria, “Tu sai per chi m'accese” [Ismene]04:33
• 54Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 2: Recitative, “Re crudel, Re spietato” [Aspasia, Mitridate]02:02
• 55Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 3: Recitative, “Mio Re, t'affretta” [Arbate, Mitridate]00:40
• 56Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 3: No. 20, Aria, “Vado incontro al fato estremo” [Mitridate]02:56
• 57Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 4: Recitative, “Lagrime intempestive” [Aspasia]00:29
• 58Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 4: Accompanied Recitative, ”Ah ben ne fui presaga!” [Aspasia]01:20
• 59Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 3: No. 21, Cavatina “Pallid' ombre, che scorgete” [Aspasia]03:54
• 60Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 4: Accompanied Recitative, “Bevasi... Ahimè” [Aspasia]01:24
• 61Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 5: Recitative, “Che fai, Regina?” [Sifare, Aspasia]01:09
• 62Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 6: Recitative, “Che mi val questa vita” [Sifare]00:40
• 63Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 6: No. 22, Aria, “Se il rigor d'ingrata sorte” [Sifare]02:42
• 64Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 7: Recitative, “Sorte crudel, stelle inimiche” [Farnace]00:45
• 65Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 8: Recitative, “Teco i patti, o Farnace” [Marzio, Farnace]01:41
• 66Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 8: No. 23, Aria, “Se di regnar sei vago” [Marzio]04:13
• 67Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 9: Accompanied Recitative, “Vadasi... Oh ciel” [Farnace]01:04
• 68Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 9: No. 24, Aria, “Già dagli occhi il velo è tolto” [Farnace]08:31
• 69Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 10: Recitative, “Figlio, amico, non più” [Mitridate, Sifare]01:30
• 70Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 11: Recitative, “Ah vieni, o dolce dell'amor mio” [Mitridate, Aspasia, Sifare]01:23
• 71Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 12: Recitative, “Reo non si chiami, o Sire” [Ismene, Mitridate]01:23
• 72Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 12: No. 24, Chorus, “Non si ceda al Campidoglio” [Aspasia, Sifare, Farnace, Ismene, Arbate]00:53
• Mitridate, re di Ponto, K. 87 (74a), Act 1:
• 73Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 2: No. 1, Aria, "al destin, che la minaccia" [Aspasia] [Original Version]08:06
• 74Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 10: No. 8, Cavata, "Se di lauri il crine adorno” [Mitridate] [Original Version, Completion of Original Sketch by Stanley Sadie & Ian Page]03:55
• 75Mitridate, re di Ponto, K. 87 (74a), Act 1, Scene 11: No. 9, Aria, ”In faccia all'oggetto” [Ismene] [Original Version]04:36
• Mitridate, re di Ponto, K. 87 (74a), Act 2:
• 76Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 7: No. 13, Aria, “Lungi da te, mio bene” [Sifare] [Original Version]09:38
• 77Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 8: No. 14, Aria, “Nel grave tormento” [Aspasia] [Original Version, Completed by Stanley Sadie]05:14
• 78Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 13: No. 16, Aria, “Son reo; l'error confesso” [Farnace] [Original Version]05:04
• 79Mitridate, re di Ponto, K. 87 (74a), Act 2, Scene 15: No. 18, Duet, “Se viver non degg'io” [Sifare, Aspasia] [Original Version]07:54
• Mitridate, re di Ponto, K. 87 (74a), Act 3:
• 80Mitridate, re di Ponto, K. 87 (74a), Act 3, Scene 3: No. 20, Aria, “Vado incontro al fato estremo” [Mitridate] [Original Version]02:37
• Total Runtime03:43:34

Info for Mozart: Mitridate, re di Ponto

The third work in Classical Opera’s complete Mozart Opera recording cycle is Mitridate, re di Ponto. It was composed for the Teatro Regio Ducale in Milan in 1770, when Mozart was only fourteen, and was the composer’s first venture into ‘opera seria’. Despite a difficult rehearsal period, during which Mozart was required to rewrite several numbers, the premiere was a great success, and marked the first operatic triumph of the young composer’s fledgling career.

Classical Opera’s new set is the first recording of the work to include in an appendix Mozart’s original settings of the seven arias and a duet which he rewrote before the opera’s first performance, and it features an outstanding cast headed by Miah Persson, Barry Banks, Sophie Bevan and Lawrence Zazzo.

"This splendid achievement, a genuine rival to Christophe Rousset’s star-studded 1999 Decca version, is given added documentary value by the inclusion of a fourth CD containing the original versions of eight arias the teenage Mozart changed at the behest of his cast" (Opera Magazine)

"Banks delivers a dazzlingly authoritative account of the title role...A front-rank lighter-weight Rossini tenor, he may not possess the bronzed tones of Bruce Ford...but from the start he throws off notes and words with such fearless hauteur that all comparisons soon cease." (BBC Music Magazine)

"Classical Opera’s recording has plenty of vitality and a cast who romp through their virtuoso arias." Financial Times)

"Banks dispatches the fiendish demands of the [title-]role with impressive security and vividness...A consistent cast without any weak links. Classical Opera's achievement is at least the equal of any version hitherto in the opera's distinguished discography." (Gramophone Magazine)

Barry Banks, tenor (Mitridate)
Miah Persson, soprano (Aspasia)
Lawrence Zazzo, countertenor (Farnace)
Sophie Bevan, soprano (Sifare)
Robert Murray, tenor (Marzio)
Klara Ek, soprano (Ismene)
Anna Devin, soprano (Arbate)
The Orchestra of Classical Opera
Ian Page, conductor

Ian Page
is the founder, conductor and artistic director of Classical Opera. He began his musical education as a chorister at Westminster Abbey, and studied English Literature at the University of York before completing his studies at the Royal Academy of Music in London. At the start of his career he worked on the music staff at Scottish Opera, Opera Factory, Drottningholm and Glyndebourne, working with such conductors as Sir Alexander Gibson, Nicholas McGegan, Mark Wigglesworth, Ivor Bolton and Sir Charles Mackerras.

With Classical Opera he has conducted most of Mozart’s early operas, including the world premieres of the ‘original’ version of Mitridate, re di Ponto and a new completion of Zaide, as well as Le nozze di Figaro, Così fan tutte and La clemenza di Tito. He has also conducted the UK premieres of Gluck’s La clemenza di Tito and Telemann’s Orpheus, and the first new staging for 250 years of Johann Christian Bach’s Adriano in Siria. In 2009 he made his Royal Opera House debut conducting Arne’s Artaxerxes at the Linbury Studio Theatre, and his studio recording of the work was released in 2011 on Linn Records.

He also devised and conducted Classical Opera’s recordings of ‘The A-Z of Mozart Opera’ (Signum Classics) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live), both of which were selected for Gramophone magazine’s annual Critic’s Choice, and he recently embarked on a new complete cycle of Mozart opera recordings with Classical Opera.

“From the outset, Ian Page nurtures a performance that crackles, beguiles, thrills and moves by turns exactly as Mozart’s opera requires.” Gramophone

The Orchestra of Classical Opera
plays on period-instruments, and comprises some of the leading players in their field.

The orchestra, which varies in size from 12 to 50 depending on repertoire and venue, has won consistently high praise from public and critics alike, and performs symphonies and concertos as well as operas. 18th-century instruments are very different from their modern counterparts. Access to new materials through global trade and advances in technology mean that today’s instruments are lighter and more robust, and might also be more naturally resonant. Most 18-century instruments are far more exposed and difficult to play than their modern equivalents, but they bring a thrilling vibrancy and immediacy to the music. This is particularly true of vocal repertoire, where the orchestra provide a dynamic subtext and often become an extra actor in the drama.

Like Mozart’s musicians, our players are able to improvise around a given melody or harmonic sequence, bringing their own interpretation to a work and ensuring that audiences never hear the same thing twice.

The short film below features one of our principal cellists Joseph Crouch, together with Artistic Director Ian Page, discussing their approach to the interpretation of recitative during the recording of Mozart’s Apollo et Hyacinthus.

This album contains no booklet.