Also: countless perfect hours listening to the operas of Mozart, from his earliest efforts, (such as Die Gartnerin Aus Liebe, La Oca Del Cairo, Bastien & Bastienne, etc.) through Idomeno, to his famous collaboration with DaPonte, which produced Don Giovanni, The Marriage of Figaro and Cosi Fan Tutte, onto his final works, La Clemenza di Tito, an opera seria relic, to the “pop” singspiel, his glorious swan song, The Magic Flute.
I am indebted to the Metropolitan Opera’s radio broadcasts, to which I’ve listened since the 40s courtesy of Mom, as well as to the Complete Mozart Edition of CDs, issued by Phillips over several years beginning in 1990, as well as any number of classical records. The recordings performed upon original instruments, beginning to be available during the 80s, also contributed a great deal to my understanding of what Mozart’s music sounded like in his own time. Thank-you Malcolm Bilson and the English Baroque Soloists conducted by John Eliot Gardiner and to the Musical Heritage Society!