Regula Muhlemann: Mozart Arias | Sony 88985337582

Regula Muhlemann: Mozart Arias


Usually available for despatch within 5-8 working days

Label: Sony

Cat No: 88985337582

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 11th November 2016



Regula Muhlemann (soprano)
Kammerorchester Basel


Umberto Benedetti Michelangeli


Mozart, Wolfgang Amadeus

Der Schauspieldirektor, K486
» Da schlagt die Abschiedsstunde
Die Entfuhrung aus dem Serail, K384
» Durch Zartlichkeit und Schmeicheln
Exsultate, jubilate, K165
La clemenza di Tito, K621
» S'altro che lagrime
La finta giardiniera, K196
» Geme la tortorella
Lucio Silla, K135
» Strider sento la procella
Schon lacht der holde Fruhling, K580
Voi avete un cor fedele, K217
Vorrei spiegarvi, oh Dio!, K418


Regula Muhlemann (soprano)
Kammerorchester Basel


Umberto Benedetti Michelangeli


Regula Mühlemann was born in Lucerne, Switzerland where she currently resides. She completed her studies at the Conservatory of Lucerne in 2010, graduating with distinction. In June 2012 she completed her master studies in ‘Solo Performance’ - again with distinction and top marks.

She made her operatic debut at the Theater Luzern. In past seasons, Regula has sung at the Zurich Opera House performing Giannetta in L' Elisir d'Amore, and as Despina in Così fan tutte at the Teatro la Fenice, Venice. In May 2012 she performed L’Elisir d’amore at the Festspielhaus Baden-Baden, alongside Rolando Villazón who both sang in and directed a highly acclaimed production. This production was broadcast on TV on December 2012. In summer 2012 she also made her debut at the Salzburg Festival, singing the young Papagena in Peter von Winter’s opera Das Labyrinth.


Here is a soprano with the kind of crystal-clear tone you could pour over ice and drink. Regula Mühlemann’s Mozart selection eschews the obvious arias while still showing off considerable musicality and a superior technique. In the fast final section of her aria from Der Schauspieldirektor the notes are as even, accurate and well defined as they would be on the piano; the syllables of Geme la Tortorella from La Finta Giardiniera fall in fat, clear raindrops; Servilia’s aria from La Clemenza di Tito is short but beautifully done. All have supple, flowing accompaniments from the Basel Chamber Orchestra.  Erica Jeal
The Guardian 24 November 2016

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