This outstanding volume features a rich selection of the composer's greatest overtures: Idomeneo (K.366); The Abduction from the Seraglio (K.384); The Marriage of Figaro (K.492); Don Giovanni (K.527); Così Fan Tutte (K.588); The Magic Flute (K.620); and La Clemenza di Tito (K.621). All reproduced in full score from authoritative early editions. Content : OVERTURES TO THE OPERAS Idomeneo Idomeneo, rè di Creta / Idomeneus, King of Crete Die Entführung aus dem Serail The Abduction from the Seraglio Le Nozze di Figaro Die Hochzeit des Figaro / The Marriage of Figaro Don Giovanni Il dissoluto punito, ossia II Don Giovanni / Don Juan Così fan Tutte . . . ossia La scuola degli amanti / Weibertreue Die Zauberflöte The Magic Flute La Clemenza di Tito The Clemency of Titus

Par HINDEMITH PAUL. The opera is set in a variety of locations between the years 1608 and 1630 and throws a spotlight on individual scenes, sometimes presented simultaneously, from the life of the astronomer Johannes Kepler (1571-1630); the opera takes its name from Kepler’s theoretical work ‘Harmonices mundi’. Hindemith utilises substantial historical studies as the basis for his sketches of individuals within Kepler’s circle who each accompany the astronomer’s scientific endeavours with a variety of personal ambitions. The military commander Wallenstein attempts to utilise Kepler’s astrological abilities to realise his own pretensions to power while Kepler’s assistant Ulrich aspires to scientific fame and recognition. Kepler’s mother urges her son to apply his scientific abilities to the services of her black magic and the Lutheran minister Hizler forbids the astronomer to receive communion because Kepler questions the doctrine of Holy Communion in the Lutheran church and expresses sympathy for Calvinist doctrine. The few figures shed in a positive light include Kepler’s wife Susanna who supports her husband’s pursuit of truth and knowledge and the child Susanna who listens to the voices of nature and the moon in her childish naivety, thereby gaining revelatory knowledge. At the end of his life, Kepler takes stock of his situation, succumbs to a state of resignation and considers death as the greatest harmony of all. In his state of agony, music of the spheres can be heard; the constellations appear as allegorical figures in the opera and contradict Kepler’s negative concepts: lying beyond all that can be researched by mankind is a final majestic realm with the powers to ‘permit us to be amalgamated into a gigantic harmony of the spheres.’ / Date parution : 2022-07-20/ Répertoire / Opéra