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Le Nozze Di Figaro: Opera House Box set


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Audio CD, Box set, January 10, 2006
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Since his June 5, 1971, debut at the Metropolitan Opera with Tosca, Music Director James Levine has developed a relationship with that company that is unparalleled in its history and unique in the musical world today. He conducted the first-ever Met performances of Mozart's Idomeneo and La Clemenza di Tito, Gershwin's Porgy and Bess, Stravinsky's Oedipus Rex, Verdi's I Vespri ... Read more in Amazon's James Levine Store

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Le Nozze Di Figaro: Opera House + Mozart: The Magic Flute + Don Giovanni
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Product Details

  • Audio CD (January 10, 2006)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Format: Box set
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: Deutsche Grammophon
  • ASIN: B000BO0GP4
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #113,568 in Music (See Top 100 in Music)

Disc: 1
1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Sinfonia
2. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. No. 1. Duettino. Cinque... dieci... venti... trenta...
3. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Recitativo. Cosa stai misurando
4. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. No. 2. Duettino. Se a caso Madama la notte ti chiama
5. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. Recitativo. Or bene, ascolta, e taci
6. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 1. No. 3. Cavatina. Se vuol ballare, Signor Contino
See all 20 tracks on this disc
Disc: 2
1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. No. 13. Aria. Venite... inginocchiatevi...
2. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. Recitativo. Quante buffonerie!
3. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. No. 14. Terzetto. Susanna, or via, sortite
4. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. Recitativo. Dunque, voi non aprite?
5. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. No. 15. Duettino. Aprite, presto, aprite
6. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 2. Recitativo. O guarda il demonietto!
See all 17 tracks on this disc
Disc: 3
1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. No. 22. Coro. Ricevete, o padroncina
2. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Recitativo. Queste sono, Madama, le ragazze del loco
3. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Eh cospettaccio! è questo l'uffiziale
4. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. Signor... se trattenete tutte queste ragazze
5. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. No. 23. Finale. Ecco la marcia... andiamo
6. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act 3. [La marcia] The villagers enter...
See all 25 tracks on this disc

Editorial Reviews

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

36 of 38 people found the following review helpful By Amy Golightly on October 2, 2006
Format: Audio CD
In my search for a perfect Nozze di Figaro--not one that was flawless, but one that suited my taste best--I listened with a merciless ear to several choices. I was given a copy of the Karajan recording with Schwarzkopf--not because my parents thought I would like it, but because they didn't want it--and decided to replace it, as I find the Susanna in that one very irritating (if you don't like the Susanna, you don't like the recording), and the sound quality bad enough that even Elizabeth Schwarzkopf is difficult to appreciate (Schwarzkopf recorded another Figaro with Giulini, which is the recording you will hear about most of the time, not the one I'm whining about).

I listened to the Bohm recording when it came on satellite radio one day. That one is ear candy, but honestly, it's not much else. Hermann Prey just might be the best Figaro on record, but as glorious as Dietrich Fischer-Diskau sounds, he seems too dark and angry, and if the Count is that nasty, the critical "Contessa, perdono" section is far less convincing. Other than that, the Bohm recording is ponderously conducted without any great personality from anyone else.

I admit to being reluctant about the Levine recording when I decided to try it. I wasn't sure if Thomas Hampson would be more secure than I've heard him in the past (although my experience with him is limited), or if Dawn Upshaw would be as irritating as the Susanna I was attempting to replace. Knowing my preference for James Levine's tempi (although in this recording they can be a tad contemplative, but not as contemplative as Bohm's) and certain that Kiri te Kanawa was the Countess I wanted, I purchased an inexpensive copy, thinking that, if I didn't like it, it would make a great Christmas gift.
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10 of 12 people found the following review helpful A Kid's Review on January 24, 2006
Format: Audio CD
Recorded in the 80's, this recording of Le Nozze Di Figaro has fast become a popular classic. It's on another label but re-released on Deutsche Grammophone for an affordable price. It stars Ferrucio Furlanetto as Figaro, Dawn Upshaw as Susanna, Thomas Hampson as the Count, Kiri Te Kanawa as the Countess, Anne Sophie von Otter as Cherubino and the late Tatiana Troyanos as Marsallina. The Met Opera Orchestra and Chorus as conducted by James Levine. The sound is fantastic, fresh and crisp, thanks to modern sound engineering. While there are certainly better choices for a supreme Figaro recording (I recommend put the Karl Bohm Figaro with Hermann Prey, Dietrich Fischer Dieskau, Edith Mathis and Gundula Janowitz and the Giulini version with Anna Moffo, Giuseppe Taddei, Elisabeth Schwarzkopf and Fiorenza Cossotto), this recording is nevertheless a stunning piece and a document of Maestro James Levine's versatility as operatic conductor. Levine has no problem with Mozart's music and finds himself the equal of all the great conductors who have taken on Le Nozze Di Figaro, and he is certainly far better than George Solti.

The singers sing with enormous commitment to their respective roles. Furlanetto has excellent Italian diction being a native Italian and only ocassionally makes Figaro rather rough and snarling, Thomas Hampson as the lusty and domineering Count is impressive and perhaps the only true interpretor of the role, Dawn Upshaw's pretty soprano voice is wholly suited to the very feminine Susanna. She shades her voice throughout the opera so she is simultaneously hot and cold. Prior to this 80's recording, Kiri Te Kanawa had sung the Countess countless times and was by this time an experienced Mozartian soprano. Her Countess is largely considered as her best role and her signature role.
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2 of 2 people found the following review helpful By Stephen McLeod on November 30, 2013
Format: Audio CD Verified Purchase
When I was about 13 years old, I was used to haunting a particular record store. I had no money, but the clerk used to talk to me about classical music, and one day, he gave me my first complete opera on LP. It was kind of an oddity, "The Marriage of Figaro" in German. I remember it was on Angel. Since that was one of only three or four classical albums I owned, and, of course, because of the music, I wore out those discs. Cut to the present: I have lived in New York City and its suburbs for over 3 decades, and I was a Met Opera follower from the beginning. When I was studying at a little university in Morningside Heights, I used to take the train down and line up on Saturday mornings to get standing room tickets ($5 !). When this version of Figaro was recorded in the very early '90s, I was doing a two-year stint in Yonkers, but I still made it down to the Met whenever I could. If this cast ever performed during my time, I missed it. In any event, though I have always admired Maestro Levine, I never thought the caliber of opera singing in the '90s was much to write home about, much less shell out beaucoup dollars for. Which is all a long way of explaining how this recording came to me as something of a surprise.

First let me praise the singers: As others have noted, Kiri Te Kanawa is "ravishing" as the Countess, and without detracting from that assessment, I want to put that word on the velvety perfection that Anne Sofie von Otter brings to the music of Cherubino. It is so blatantly and immediately beautiful, it almost feels like too much - like that slightly strange feeling one experiences after a particularly rich meal. Does Cherubino deserve this much heartbreaking virtuosity?
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