The eagerly awaited release of Don Giovanni represents the culmination of the critically acclaimed cycle of Mozart's Da Ponte operas from the charismatic conductor Teodor Currentzis and MusicAeterna, the orchestra and choir he founded in Siberia.

On 23 March 1783, an important concert took place in Vienna, playing a considerable role for Mozart’s reputation in the imperial capital, where he had resided since 1781. It is obvious that Mozart wanted to be heard in both what he had composed prior to 1781, as well as in his more recent works. From the Salzburg repertoire, he borrowed the ‘Haffner’ Symphony. To this he added the long concertant movement for wind instruments from the ‘Posthorn’ Serenade.

In 1535 Sylvestro Ganassi published in Venice the first treatise developing the technique of the art of ornamentation at an unprecedented level of rhythmic complexity and virtuosity. Playing the recorder, the instrument to which Ganassi devoted his work, Denis Raisin Dadre applies the rules of the treatise to the repertoire that Ganassi practiced, frottole and, above all, the madrigals of Philippe Verdelot. With the ornaments, the music proves to be a living art that practices a constant rhythmic shift, the exuberant virtuosity of improvisations and a ‘swing’ that would be typical of jazz in the 20th century.

In January 1783 Mozart advertised in the Wiener Zeitung ‘the publication of three new, recently completed piano concertos’, which could even be played with quartet accompaniment – thus enabling him to reach a wider public. In similar vein, he told his father that they were ‘very brilliant and pleasing to the ear . . . Here and there only connoisseurs will derive satisfaction from them – yet in such a way that the non-connoisseur will also be pleased, without knowing why.’ It’s a fair bet that these dazzling performances by Kristian Bezuidenhout and the Freiburger Barockorchester will meet with the same unanimous approval!

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 P. v. Winter’s opera Das Labyrinth.