Customer Reviews

Great Recordings Of The Century - Mozart: Le Nozze Di Figaro

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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.

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!

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.

The place: Count Almaviva's - governor of Andalusia - palace in Spain.

Countess Rosina is Almaviva's wife but ignorant of the fact that her husband is trying to use the ancient regime credo - the right of the seigneur. (Primae noctis).The Count is looking for amorous advances towards Susanna, the Countess maid and head chambermaid, before the consummation of her marriage to Figaro.

Susanna is to be betrothed to Figaro, the man she loves and to whom she is engaged. Figaro is the count's chief steward and the concierge of his castle.

Count Almaviva discovers that his young attendant, Cherubino, is interested in the Countess. (Actually he was in love with every woman). So, the Count decides to send Cherubino away as a private in his own regiment.

Suzanna reveals everything to Figaro and the Countess.
Figaro, Susanna, and the Countess concoct a plot to abash Count Almaviva and disclose his unfaithfulness, forcing the count to look ridiculous and extravagantly farce.

In the meantime Figaro is caught up in a disagreement with doctor Bartholo and Marceline (another housekeeper - in love with Figaro, inadvertently Figaro's mother) which ends up when he is disclosed to be their son.

At night, all find themselves in the palace, where a funny series of cases of mistaken identity results in the Count's disgrace and then pardoned by the Countess.

Figaro and Suzanna get married.

In 1786, Mozart set to music this Italian Libretto (often called: The Day of Madness). The opera is comic - buffa, and the libretto is written by Lorenzo da Ponte (I believe in 1784)

Perhaps what's funnier is that this masterpiece was banned in Vienna because it has satirical notions against the aristocracy. Indications of a French revolution were beginning to surface and came two years after Figaro (The fall of the Bastille; march to Versailles, French king and assembly returned to Paris, national guard formed in Paris under Lafayette, rising in French provinces............)

This recording is splendid. Herbert von Karajan's magic touch is also there. How can one miss it? Listen to the Overture - four minutes of outstanding music. But no! the entire Opera is great. I did enjoy it, you too will love it.

Great Recordings Of The Century - Mozart: Le Nozze Di Figaro / Karajan, London, Schwarzkopf, Seefried, et al is a recording being led by the one and only Herbert Von Karajan whom leads the Winener Philharmoniker on this EMI recording from 1952. We also get to hear the amazing Chor der Wiener Staatsoper. Richard Osborne has written great linernotes when the recording was re-released on cd in 1999. The text also is in French and German. The lyrics come in Italian, French, German and English. We also get great photographs of Von Karajan and the performers from the time of the performance. The mix of the genius of Mozart with the equal genius of that of Von Karajan makes this one of the best recordings of Le nozze di Figaro that I have heard so far. 5/5

This famous recording from 1950, with its incomparable cast of young singers, presents Karajan's brilliant, fiery and almost symphonic reading of Mozart's great score in a superb mono recording, digitally remastered at Abbey Road Studios for this reissue.
Once again, Walter Legge was responsible for bringing together a supreme cast - headed by Schwarzkopf, Seefried, London, Kunz and Jurinac - and for combining them with the chorus and orchestra from the Vienna State Opera. The casting and Karajan's direction are both admirable, the orchestral playing is of the highest possible quality, and the recording is practically flawless
The opera, to a libretto by Lorenzo da Ponte based on Beaumarchais's play, was first heard in Vienna in 1786. It has remained one of the most popular of all comic operas, considered by many to be Mozart's greatest achievement for the stage.
The Orchestra is excellent, and the singers have brilliant characterisation.
A fine performance.

This version is ruined by Karajan's driving conducting, which ends up with garbled passages and lack of coherence. Despite the interesting account of Susanna by Seefried, this one is not worth having -- Schwarzkopf's Countess, though different, is to my ear no better than her later one with Guilini, and that one is magnificently paced. The whole thing is not helped by the cutting of recitative, so that at times one has the impression of a "highlights" disk rather than a performance.

This CD is excellent, Schwarzkopf WITH HER BEAUTIFUL FEMALE VOICE just brigns elegance, London with his strong masculine voice overwhelms the listener. Brilliantly played and performed, No problems (maybe if they had the recitivos but there nothing much to worry). Orchestra is smooth, and touching, can be abit stronger. Karajan coonducting is graceful - a partically flawless Figaro - THE BEST EVER.

How can you describe this performance? Perfect Great Orchestra Great esemble ? That all you need to know - the Best Recordigns ever - Just buy it It won't do you wrong !!

Any performance of Figaro without the dialogue is out of hte running for me, but even as vocalism the singing here often misfires. These were great or at least notable singers with lots of experience in Vienna, and Karajan was in his prime, but nothing seems witty or graceful enough--it's almost prissy at times. I would go straight for the classic reading under giulini, also on EMI.