Magdalena Kozena--mezzosoprano, Jos van Immerseel--fortepiano, Orchestra of the Age of Enlightenment, Sir Simon Rattle.

Wolfgang Amadeus Mozart

Arias

(Le nozze di Figaro, Cosi fan tutte, La clemenza di Tito, Idomeneo; concert arias: Ch'io mi scordi di te?--Non temer, amato bene K 505, Vado, ma dove? o Dei K 583, Alma grande, e nobil core! K 578)

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Magdalena Kozena--mezzosoprano, Jos van Immerseel--fortepiano, Orchestra of the Age of Enlightenment, Sir Simon Rattle. Production: Marita Prohmann. Text: Eng., Ger., Fr. Recorded: 12/2005, AIR Studios, Lyndhurst Hall, London. Released: 2006. TT: 67:56. DDD. 1 CD Archiv Produktion / Deutsche Grammophon 477 6272 (Universal Music).

My attitude to the singer Magdalena Kozena has changed little over the 11 years of her career. Unlike some Czech reviewers who once treated her with condescension and contempt and today uncritically praise her to the skies, I am known for having always taken some issue with details of her technique and expression in some music. Nonetheless, her first Mozart album, and moreover an album made with her partner in life and ideal conductor, is excellent to a degree that is breathtaking. In the comprehensiveness of its virtues it is the kind of record I have never come across before and surpasses even her French album, which until now I considered to be the high point of her opera recital activities.

Dramaturgy: Magdalena Kozena seems to have an inborn talent for the selection of pieces, clearly cultivated by contact with people from whom she can (and wants to) learn. In the past these have included Johnson, Martineau, Minkowski and Goebel, while currently it is Sir Simon Rattle. Performance: The involvement of Jose van Immerseel has made K. 505 an even more brilliant gem than it was at Kozena's wonderful concert with the Prague Chamber Philharmonic last summer. A real musical fairytale! To say that the Orchestra of the Age of Enlightenment is in the very front rank of the world's large ensembles using original instruments tuned in the original way is to seem to be dealing in cliches. But this Mozart sets the seal on the orchestra's primacy. And to perform under imaginative direction must be hugely inspiring. Kozena uses dozens of expressive refinements, nuances in voice or the articulation of voice. I don't know whether Mozart is one of her favourite composers, but it seems so from the result. It will give great pleasure to listeners. Incidentally, the authentic low tuning allows her to sing soprano parts equally well. (I am curious as to whether DG will also bring out a DVD, as has become its practice recently.)

Resume: This CD is simply faultless. The only thing the owner of this jewel might have welcomed would have been a more detailed sleeve-note.