Great Recordings Of The Century - Mozart: Le Nozze Di Figaro [Original recording remastered]

Wolfgang Amadeus Mozart (Composer), Herbert von Karajan (Conductor), Vienna Philharmonic (Orchestra), Irmgard Seefried (Performer), Marjan Rus (Performer), Elisabeth Schwarzkopf (Performer), Elisabeth Hongen (Performer), Sena Jurinac (Performer), Erich Kunz (Performer), George London (Performer) | Format: Audio CD

Product Details

• Performer: Irmgard Seefried, Marjan Rus, Elisabeth Schwarzkopf, Elisabeth Hongen, Sena Jurinac, et al.
• Orchestra: Vienna Philharmonic
• Conductor: Herbert von Karajan
• Composer: Wolfgang Amadeus Mozart
• Audio CD (September 21, 1999)
• Number of Discs: 2
• Format: Original recording remastered
• Label: EMI Classics
• ASIN: B00000K4GB
• In-Print Editions: MP3 Download
• Average Customer Review: 3.7 out of 5 stars  See all reviews (13 customer reviews)
• Amazon Best Sellers Rank: #49,501 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Overture

2. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Cinque... dieci... venti

3. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Se a caso Madama

4. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Se vuol ballare

5. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. La vendetta, oh, la vendetta

6. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Via resti servita, madama brillante

7. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Non so più cosa son, cosa faccio

8. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Cosa sento!

9. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Giovani liete, fiori spargete

10. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Non più andrai

See all 19 tracks on this disc

Disc: 2

1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Crudel! Perché finora farmi languir cosi?

2. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Hai già vinto la causa!... Vedrò, mentr'io sospiro

3. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Riconosci in quest'amplesso

4. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. E Susanna non vien!... Dove sono

5. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Sull'aria

6. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Ricevete, o padroncina

7. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Ecco la marcia... Amanti costanti

8. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 4. L'ho perduta, me meschina!

9. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 4. Tutto è disposto... Aprite un po' quegli occhi

10. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 4. Pian, pianin, le andrò più presso

See all 13 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

17 of 18 people found the following review helpful:

4.0 out of 5 stars Karajan's Figaro is worth more than just a glance, March 29, 2003

By 

Haas "haasenpfeffer" (Brooklyn) - See all my reviews

This review is from: Great Recordings Of The Century - Mozart: Le Nozze Di Figaro (Audio CD)

This 1950/51 recording from Herbert von Karajan and the Vienna Philharmonic is a must-have for collectors but, admittedly, a lousy first choice. Novice Mozartians should seek out either Erich Kleiber's ever-insightful 1955 recording, Bohm's classic DG recording, or Giulini's early 60s EMI (at bargain price). But I love this recording and couldn't live without it. Here's why:

This isn't the best conducted 'Figaro' by any means, but young Karajan has a marvelous sense of the drama in the music, and really lets his ensemble of singers take center stage. Every now and then he gets a bit rushed -- but I've learned to get past it.

Erich Kunz is a glorious Figaro -- a close second to Prey for Bohm. Sometimes I actually prefer Kunz's more sarcastic, less expressively "funny" approach. Irmgard Seefried has what I call a "clipped," German-like Italian accent, which is not pleasant at first. She has some spots of wretched Italian, such as in "Venite, inginocchiatevi," where her "Bravo!" sounds more like a dying cat's "Braaoh." Oh it's bad. But then, like Karajan, she warms up later on. George London is no match for Eberhard Waechter on Giulini's set, but I like him. Gold star for best supporting character goes to Sena Jurianc as Cherubino, whose vastly underrated performance (particularly in her first aria) rivals even Danco for Kleiber. Best of all is the young Fraulein Schwarzkopf, who acts and sings at her peak: her big moments in Act III are simply marvelous, especially the "Sull'aria" duet with Susanna, the finest you'll hear anywhere. A tremendous experience.

Group work is exceptional on this recording. The "Mia Madre" sextet, reportedly Mozart's favorite in the opera (quite a statement!), is stupendous on this recording. Seefried's Susanna comes alive, with a genuine pain and confusion (and then surprise and delight), and Erich Kunz's "E quella e mia madre, che a te lo dira" is smooth and dignified, followed by an energetic burst from the remaining five with "Al dolce contento...Al fiero tormento." An unforgettable moment in recorded opera.

The finale of this opera contains some of the most stunningly beautiful music Mozart ever dreamed up. George London thankfully delivers his best singing on "Contessa perdono!", leading into Schwarzkopf's remarkable reply of "Piu docile sono." This is the best version of what I like to call the greatest moment in all music, and so I think any serious Mozart aficionado should own this recording just for that.

11 of 12 people found the following review helpful:

5.0 out of 5 stars There's more than one way to conduct "Figaro", February 5, 2005

By 

James Hinckley (Richmond, VA USA) - See all my reviews
(REAL NAME)   

This review is from: Great Recordings Of The Century - Mozart: Le Nozze Di Figaro (Audio CD)

One of the great things about recorded performances of classical music is that they allow us to experience different performances on our favorite works, even if we personally consider one to be the "definitve" performance. For example, you may think that Angela Hewitt's Bach recordings are fantastic, the best way to play Bach. However, they are not the only way to play Bach, as Glenn Gould demonstrates. Their views regarding interpretive niceties are radically different. Neither are, irrespective of the views of many self-proclaimed musicologists, in and of themselves "correct" or "incorrect." Whether I like Hewitt or Gould better depends on many factors; oftentimes, these factors are extramusical, such as weather or mood, and they vary from one day to the next. Some days, I prefer Edwin Fischer. If I were asked to choose, I'm not sure I could. Luckily, there's no need to, for I can own and enjoy several different recordings of my favorite pieces.

Now, I understand fully well that collecting opera is an expensive habit. For this reason, I shied away from Karajan's "Figaro" for some time. Why spend the money required on an "incomplete" recording of the opera, with the secco recitatives excised? To many, these omissions put Karajan's set out of court. Then I read about his preferences for "unnaturally fast" speeds. I don't know, I thought to myself, is this a "Figaro" worth having?

The answer is a resounding "yes," and I'm glad I have not wasted another moment in adding it to my collection. Because of the number of very different recordings out there, no one is holding a gun to our head, forcing us to pick a "Figaro." This actually makes it more fun; we can compare Karajan's to other, treasured versions.

Yes, he omits the recitatives. If this truly puts the set out of court for you, there is nothing I can do to change your mind, except perhaps say that the recitatives remain in versions by Giulini, Solti, Gardiner, and others. They won't disappear from those classic recordings just because you listen to Karajan's version. Yes, I understand that they tell a vital part of the story. But that doesn't relegate Karajan's version to "Cliffs Notes" status; it's more like seeing the story from a different perspective.

As far as speeds are concerned, there are several points to be made on this end. First of all, in spite of notable exceptions, such as the Overture, Karajan's recording is not as fast when compared with other popular versions as some wild claims would have you believe. Second of all, Karajan's speeds reflect his personal view of the score as being more bracing than the interpretations of others. Karajan's speeds reflect a breathlessness that make the score almost frightening, rather than comedic. Thirdly, the most important factor in opera is not necessarily speed, but pacing. Karajan's pacing, his control, is remarkable, as it so often is in his recordings of the 1950s and 1960s. How many opera conductors have this kind of sense of pacing and structure? Even at high speeds, Karajan's grip never loosens, and he understands completely the structure of the opera.

Well, what's left is the cast, and--well, look at the cast. It's fantastic, one of the best on records. Little else need be said on this subject.

So, is Karajan's "Figaro" the only recording you should own, or even the first? Probably not. But it's a fresh, invigorating perpective. It guarantees, along with other great recordings of its era, that this great masterpiece will never become a museum piece. Remember, there's more than one way to conduct "Figaro." It's a great work, and thanks to recordings, we now can experience many differing interpretations. Give Karajan's a try. It's quite a ride!

13 of 15 people found the following review helpful:

3.0 out of 5 stars A dated Figaro sans recitatives with vintage singing, November 7, 1999

By A Customer

This review is from: Great Recordings Of The Century - Mozart: Le Nozze Di Figaro (Audio CD)

Secco recitatives are completely left out in this recording which is a pity as they are integral to dramatic continuity of the opera. What I particularly enjoyed was Erich Kunz's Figaro, a bluff genial portrayal which brought back fond memories of his Papageno in Die Zauberflote (a classic EMI recording also conducted by Karajan). Readers should also be aware that the Act 4 Basilio and Marcellina's arias have been ommitted.