Princess Clarinet of Iceland

Arunnungur Arnadottir (I was struck at first hearing; some Internet friends told me that this is a very convenient thing these days: my Japanese sensibilities would not allow me to call this charming lady Arunnungur, etc., I'm sorry, Icelanders! (Sorry!) At first I was uncomfortable with the brilliant performance from the chalumeau to the bridge, not to mention the artissimo and the clarinet. It's Tosca.
I won't mention it because it may not interest those of you who don't play clarinet, but even Buffet Crampon is a fortune when it comes to the Tosca model. We can only admire it. One of the writers, who seems to be a clarinet expert, carefully pointed out that compared to Prinz, whom I still love, for example, especially in the second movement, the soft fusion of the Prinz and Ween Philharmonic ensembles and the metallic, if not metallic, presence of Arnadottir in front of the clarinet are very impressive...
Some described this place as fishy, but I guess everyone has their own way of feeling. I felt the "prayer" at the moment when the breath was deep in her mouth.
In the second movement, Arnadottir controlled the tones by adjusting the volume and speed of her breathing. In A-dur, the perfect "weeping" phrases such as "ra-so-fa-mi-le," "si-ra-so-fa-mi," and "do- si-ra-so-fa-si," which Mozart never wrote before, are made possible only by controlling the expression of the breath.
There is nothing special to say about the Allegro and Rondo. The phrasing, articulation, ornaments, etc. have been studied to the utmost, and anyone who listens to them will find them to be Mozart at his best. I know this is the second time I have uploaded this piece, but I hope everyone will give it a second listen. Arngnul Arnadottir is devoted to Mozart with all her heart and soul!
Postscript
Some commentators have pointed out the lack of thatz in this performance, but I would like to add that I find it musically sterile to demand ensemble perfection from an ensemble of this period.