Customer Reviews

Mozart: Le nozze di Figaro / Furlanetto, Upshaw, Te Kanwa, Hampson, von Otter, Troyanos; Levine

5 star:		(12)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I own a total of four recordings of "Figaro" including Bohm (gorgeous singing), von Karajan (early one with Schwarzkopf and London. Again, gorgeous) and the Abbado (Later DG, saved only by Abbado, Skovhus and Bartoli). This recording is without a doubt the finest and most enjoyable. It combines flawless singing in EVERY role and a sense of character and meaning in the recitatives instead of simply pattering through them to reach the arias. Levine's conducting is at its best - brisk, yet thoughtful. This is for me definitive - Hampson is incredibly masculine, Te Kanawa sensual, Upshaw innocent yet firey, Furlanetto is brisk and smooth. Special mention should go to the supporting cast including Von Otter for a superb Cherubino and Troyanos as Marcellina. Buy this and enjoy a Figaro that is intelligent and real!

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. My parents gave me a copy of the Karajan recording with Schwarzkopf--not because they thought I would like it, but because had purchased it and found 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.

No one's getting this for Christmas.

What I found on these three discs was a welcome relief from the view that glamorous voices and Verdian tempi are all that make a great recording. All you who like live recordings? This has the personality of one, without the drawback of audience noise (so the same guy isn't coughing in exactly the same spot in "Dove sono" every time you listen to it). You can hear Marcellina's knock at the Countess' door when she storms in to drag Figaro to court. You can hear the Count's embarrassed cough when Barbarina speaks of his promise that she can have whatever she wants. When Susanna hits Figaro, you hear not only the slap, but his startled "Ooh!"

My experiences with Ferruccio Furlanetto have not previously included his Figaro. I was familiar enough with his Leporello and Guglielmo, however, to know that he would be a wonderful Figaro. Anyone unfamiliar with his voice should be aware of something: while he has a truly beautiful sound, it is very unusual, and definitely an acquired taste. It is not glamorous in the sense of the trumpet-clarity of Samuel Ramey or the thunderclap-resonance of Siepi or Ghiaurov. It is almost opaque, very dark, very rich and creamy, like hot chocolate with marshmallows and cinnamon--sweet and spicy. He is a delightful Figaro, true not only to Mozart and da Ponte's view, but to Beaumarchais', who stated that Figaro must be played with only intelligence and high spirits. Furlanetto achieves a laughing tone to his voice in his tongue-firmly-in-cheek portrayal, but can as easily be bitter ("Aprite un po'") or sentimental ("Riconosci in questo amplesso") in such a way that you can actually see the expression on his face.

Dawn Upshaw is a little strawberry in this, and if you can get past her giggle, you will find her a very animated Susanna. I would not worry about Furlanetto's dark bass in relation to her light, bright little voice. I never in my life before this would have put her and Furlanetto together, but somehow, their voices compliment each other--very distinct from each other, but very fitting, like complimentary colors. Her bright timbre is prominent enough that his darker, heavier voice does not even threaten to overpower her. Upshaw is easily distinguished in larger ensembles, as well, without interfering with the overall quality of the ensemble. I still prefer someone like Barbara Bonney in this role, but Upshaw is well-suited to it. Her "Deh vieni" is soothing and beautiful.

Kiri Te Kanawa is amazing. Her "Porgi, amor" on this CD is miraculous, the most beautiful I have heard, surpassing even her other performances I have heard. I believe I was clutching my bedspread and oblivious to all else when I first heard it. There isn't anything else to say. If no one else on this CD will make you happy, Kiri Te Kanawa will.

Thomas Hampson's creamy lyric baritone is strong in this recording, his portrayal more sympathetic than that of Fischer-Diskau, but still a jerk. Beaumarchais, the original playwright, was explicit that the Count have a great deal of humanity to him. In the text of the play itself, the character is summed up by Bartolo: jealous because he's proud and a rake because he's bored. This is Thomas Hampson's Count; this and gorgeously-sung, with a fiery "Vedro mentr'io sospiro."

The supporting cast is as luxurious as one can expect to find in a Levine recording, with Paul Plishka's wonderful Bartolo and Tatyana Troyanos' marvellous Marcellina. Anne-Sofie von Otter is richly voiced and offers up an endearing Cherubino. The air-tight casting continues even in the smallest roles, and Barbarina's canzonetta is as gorgeous as Susanna's "Deh vieni, non tardar." Levine's ear for vocal blend is impeccable, all voices distinct but working together like cogs (in the final ensemble, I can hear Dawn Upshaw and Kiri Te Kanawa's voices, but can't quite tell where one begins and the other ends--I never would have expected that from their voices). My only gripe is that the chorus could have been better prepared--they're a tad choppy during "Amanti costanti."

The humanity in this recording is revelatory. "Riconosci in questo amplesso," to me, was always such a funny and absurd little scene, a random deus ex machina expertly pulled off by a great comedian. It is this in the recording, until all has been revealed to Susanna and Figaro dwells in the melody of "Mia madre, che a te lo dira, mio padre, che a te lo dira." The way this was done was heartbreakingly sentimental, and the moment, in spite of the absurdity of the situation, became about the joy of a man who has found the parents he has been searching for his entire life. I had never heard it this way before.

There are more glamorous casts (not much more glamorous, mind you), more generally accepted voices, but keep in mind that there are many recordings out there, and the one which satisfies you may not be the favorite of those who believe that no good singers have arisen since 1977.

Let me join the crowd and toss on another 5-star recommendation. Others have mentioned the beauty of the voices, but what satisfied me with this recording was the overall beauty of both the sound and the product. The quality of the recording could not be higher, and the MET Orchestra is simply sublime. If you, like many, consider "Figaro" to be the perfect opera, you might well consider this to be the perfect recording of it. The physical product (CD + libretto + box) is of the highest quality, too. A real winner, this!

James Levine's opera recordings with the Metropolitan Opera forces were often compromised by weak casting or sluggish conducting. But that's not the case with this FIGARO. The cast is good all around (Furlanetto's voice is a bit rough, as always, but he doesn't let the side down), and Levine's conducting is really excellent -- on a big, grand scale, and with the balance of comedy and seriousness that this opera needs. One especially nice thing about Levine's conducting is that he allows the brass and timpani to be clearly heard and make a powerful impact, unlike many conductors in this opera (Solti being the worst offender). The sound is generally fine, with a good voice-orchestra balance. This could well be a first choice for a recording of FIGARO with no major weaknesses and many strengths.

I have to agree totally with Coals to Newcastle: this is just a perfect recording. All the voices are excellent, the orchestra, the conductor, everything. But did we forget the music? Sparkling, inspiring, simply wonderful Mozart!

I also agree about Thomas Hampson's Almaviva. Lecherous, sweet, angry, just perfect!

I bought this title after watching a PBS special about the Met's performances of Verdi operas. I was looking for a good recording of Figaro at the time, and Levine doesn't disappoint. Under his direction, the orchestra plays beautifully, and each singer seems perfectly suited for their role. Levine maintains a faster tempo than Figaro recordings from 20 or 30 years ago, but by doing so, he enhances both the dramatic and humorous elements of the opera.

Anyone who wants to enjoy a full-length recording of Figaro can't go wrong with this purchase. There are other recordings by Mackerras and Gardiner that rely on period instruments that are excellent choices as well, but Levine's version pleases in all respects. Recommended for all.

I don't want to waste anybody's time by writing a long review. If you like Figaro, this is the recording you want.

I have to agree with the other reviewers that this is by far the most enjoyable production of Mozart's opera. I am especially partial to Te Kanawa, but all the other participants did a great job. As far as I know, this is the only recording that features a young-sounding Barbarina. In most others she sounds like a mature woman, which I find annoying.

Get it and emoy!

Le Nozze di Figaro is my favorite opera... so far.

I cannot give enough praise for Ferruccio Furlanetto who sings the role of Figaro in this recording. He is fabulous, and I think it might have something to do with his being Italian. He is passionately angry in Se vuol ballare. He sings this aria as if he's done a thousand times, and yet he manages to make it fresh, engaging. So what if he's done it a thousand times, he's a baritone and Mozart is what singers do. We should expect that he's sung all Mozart arias for baritone a thousand times each. But despite this, the aria isn't boring. In fact it's the best I've ever heard anyone sing it.

Dawn Upshaw sings Suzanna with much art, she's a great performer. But honestly, and I hate saying this about a millionaire while I'm not one, I grew weary of her voice toward the end of Act I. Her tone didn't change but I began to perceive it as a bit screechy.

Anne Sophie von Otter is not my favorite Cherubino. Her lines are a bit too studied. Troyanos is absolutely awesome as Marchellina, so much so that when she and Suzanna fight in the first act, Troyanos' voice wins out even though in the libretto it is Suzanna that appears to have won that little battle. Troyanos is ever the easier to listen to, God rest her soul.

Kiri Te Kanawa is incomparable as the Countess. After all these years of playing this role, it still belongs to her and with good reason. Her tone is rich, her plight apparent, and we never get tired.

I may be alone on this point, but I actually like Levine's conducting. I like his slow pace. I like hearing every single last little note so masterfully put into place by Mozart. True, during some parts I do lament the slow pace and wish for something a little more fast paced and delightfully comical, something truer (to coin a word) to the spirit of Mozart and of this opera.

But the reason I chose this particular version of this much recorded opera is because of Thomas Hampson. He's cute. Undeniably so. And he's convincingly evil and leacherous as Count Almaviva. I love to hate him in this role. His performance is manipulatively seductive. In fact this is what made me late buy a recording of Don Giovanni with Hampson in the title role. But I think he is even more of a Don in this, Le Nozze di Figaro.

This recording has an impeccable cast of singers and should be bought by anyone seeking to find the ultimate recording of Le Nozze di Figaro! The other one I would suggest is the one with Karl Bohm conducing, and Herman Prey as Figaro with Dietrich Fischer-Dieskau as the Count....while Fischer-Diskau's approach to the count is completely different from Hampson's.

For a birthday present, our son Mike, who is in a graduate level school of music, asked us to choose from several possible recordings. We choose this CD from the Metropolitan Opera Chorus and Orchestra conducted by James Levine, since for years we have enjoyed the excellent radio broadcasts of the Metropolitan under the leadership of Mr. Levine. Here is our son's response:

I love the recording you sent. Even though I knew it would be the Marriage of Figaro, I thought it would be fun to let you choose. The recording you sent is delightful! James Levine is a very famous conductor of opera and the singers are also very very famous and good.
-Mike