Customer Reviews

Mozart - Le nozze di Figaro / Gallo, McNair, Studer, Skovhus, Bartoli, Abbado

5 star:		(6)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

If you happen to be a "Penguin Guide" reader collecting only 3 full stars recordings, you have all chances to overlook this recording of Figaro with its **(*) rating (** for the highlights). Whatever critics say, this is one of the best "Figaros" I've ever heard - it is marvellously played and sung, with not a single passage treated as unimportant. My attention was constanly focused on the orchestra - you'll rarely hear "Figaro" played with such a finesse. Singing, too, is delightful and of the highest quality! I must admit that I was a little unhappy to see Sylvia McNair in the cast - and in no lesser a role than Susanna herself - but I was immediately won over by her fine characterization. My main concern with McNair is her "off pitch" singing, especially at the end of the musical phrase; the voice itself, however, is simply gorgeous! Here, as Susanna, she sings beautifully and the instances where her "faulty" technique (well, what do I know about the singing technique?) produces the "off pitch" effect are very rare. I really enjoyed her Susanna (and many of her other creations, including Cleopatra in the MET's "Giulio Cesare" last year)! Cecilia as Cherubino is a great asset of this recording and happily so, because her name, I am sure, helped sell this wonderful, but "condemned" by the critics set. I don't intend to bore you with my detailed analysis of all performances on this disc (other reviewers did it much better), let me just say that all the singers involved here did a wonderful job (including much criticized Marcellina and Bartolo with their too young voices - they didn't bother me a bit, especially when sung so well - listen to Dr. Bartolo's aria in the first act!) and the final effect is really admirable and totally convincing. I can't agree that this "Figaro" has little "sparkle or sense of fun" (Penguin Guide). There is certainly enough fun, what together with the highest quality of the preformance makes this "Figaro" one of my favorites. For me it certainly is the best of the modern recordings, right after my personal favorite with H.Prey as Figaro and Bohm conducting (well, I am not really sure about it - I would put them ex aequo on the top of my Figaro list). So, don't let the critics delay your pleasure with this wonderful set - it really is worth hearing and having for repeated listening! And don't forget about Abbado's other underrated Mozartian achievement - his "Don Giovanni" with Bryn Terfel and Simon Keenlyside!

Karl Bohm's 1968 version is still the greatest "Figaro" on the face of the earth, but I was incredibly surprised at how wonderful Abbado's version is! There is a critic here at Amazon (David Hurwitz) who is always putting down Abbado, so I held off buying this for a long time. When I finally heard it, I was immediately stunned by the freshness, the energy, and the gorgeous detail in the Overture. The first act opens with the lighter but beautiful-voiced Figaro of Lucio Gallo and the youthful, pure-toned Susanna of Sylvia McNair. Bartolo boom through with a fine aria--not as unique as some, but perfectly acceptable. Marcellina is more graceful than the aging mezzos often placed in this role. Cherubino is--well, Cherubino is Cecilia Bartoli--need I say more? Bo Skovhus is a firm if not over-powering Count and Cheryl Studer oozes tremendous pain in the Countess's first aria. But the most remarkable aspect of this recording is Abbado's thoughtful attention to detail. There is something gentle and humane about this version--it creates a feeling that is completely unique among recordings of "Figaro." For that reason, I find this version to be much superior to Solti's. The singers in Solti's version rival and often surpass those on Abbado's, but Claudio and the Vienna Philharmonic pull you in and make you get into the inner workings (both musically and dramatically) of the opera in a way that Solti's doesn't. Until I heard this version, I thought Barenboim's recording was the best digital one available--but I take that back and now say that Abbado's "Figaro" is the one you'll want to buy after getting Bohm's.

Though relatively new to opera, I have some expectations and this Figaro works for me. I will leave it to others more knowledgeable to comment on the relative merits of the individual performances -- being a neophyte my standards are quite simple -- do I like the overall effect? For me, the answer is a resounding YES! I can listen to this Figaro again and again and keep finding new passages that delight me. The overall pace is lively and the voices bright and well-matched. The individual arias are strong and moving, and the duets and ensemble passages are a delight. Unlike some recorded operas, which I find to be repetitious and boring without the visual references of the live performance, this Figaro keeps my attention with the variety and "texture" of the voices. Coming to opera from a much longer passion for symphonic music, I particularly appreciate the fine orchestral performances on this recording. I delight in the way Mozart plays off his female voices against the woodwinds, for example, and this recording does justice to Mozart's genius. Let others argue about the "best" Figaro, this recording has the qualities that make me love opera, and Mozart's in particular.

This is really a very decent recording of what is perhaps Mozart's finest opera. Sylvia McNair is an elegant, but sharp and witty Susanna, Lucio Gallo fills the role of Figaro with good taste, Cecilia Bartoli is an incomparable Cerubino, and Bo Skovhus is a remarkable, beautifully voiced Count. There are only two major disappointments: Cheryl Studer as the Countess (she warbles her way through what should be glorious passages), and the way the orchestras drowns out all the leads except Skovhus. What *was* Abbado thinking?? Truly, the Berlin Phil shines in this recording (the woodwinds were never better), but the orchestra must *blend* with the singers, not overpower them.

My advice? If you are new to the opera, buy the recording with Anna Moffo, Giuseppe Taddei, and Elisabeth Schwarzkopf instead. If you're an old pro, buy it and ignore its fallacies for its triumphs.

Out of all Mozart operas, Le Nozze and Don Giovanni stand out as being the most innovative and complex. While they enjoyed great attention from many wonderful conductors and singers, many recordings have various flaws. The re-releases of old recordings still suffer from a great deal of hiss and other recording problems. For Le Nozze, many new recordings assemble artists that sound great individually but there is not much chemistry between them. And where is the great Figaro of today? Well, we have him here. Lucio Gallo is a prefect smooth-voiced good-humored barber, blessed with flawless pronunciation and glowing tone even on fast passages. I first heard him as Rossini's Bartolo (also with Abbado) and was amazed by this artist whom we unfortunately don't hear more on record. Bartoli fits her trouser role with ease; Studer, while having to face some tough competition, is up to the challenge; and Boje Skovnus clearly shows that he is destined for greatness. This recording also boasts Sylvia McNair, a master of Mozartian repertoire and bass great Ildebrando D'Arcangelo. The incredibly versatile maestro Claudio Abbado adds his masterful touch to the whole recording - you can listen to the whole thing in one evening and still enjoy the very welcome appendix. For those looking for older definitive version, I would recommend a Karajan set with Van Dam in title role, but beware of recording flaws that are not present here. I don't own any other complete recordings of this opera and most likely won't - this one is as close to ideal as it gets.

I think both the negative and positive reviews are right. Abbado's all-star Figaro will apeal to listeners who apreciate his careful touch with every (blooming) detail. Each recitative is finely molded, every inner line in the orchestral part given its precise weight and color. The Berlin Phil. plays with nuanced elegance--in short this is a musically spotless rendering.

But the carpers are also right, because Abbado is twice as cautious as he needs to be, and iwth all this detailing the fun goes right out the window. Nobody really smiles in this performance, much less cuts loose. Yet the singing per se is gorgeous. Gallo makes for a roughneck Figaro with all his wits about him, a perfect foil to his nemesis, the beautifully sung (but not very threatening) Count of Skovhus. Mcnair is light and bright, but she doesn't control the machinations as she should and rarely sounds witty or smiling, even wehn taunting that sitting duck, the aged Marcellina. Studer's voice sounds too mature and has a distinct wobble in it, a sad showing from a soprano who had greatness in her.

I doubt that anyone would ever think Figaro is a comedy if they only had this recording to go by, but they would certainly believe that it contains some of Mozart's most glorious music. My four stars are for the musicality, not the drama.

This is one of the modern Figaros you cant go wrong with.

It is played, for SOME, a bit loud meaning Abbado and producer give Wiener Philarmoniker a bit more "loud" sound than usual but they absolutly not owerpower singing in no way.

Excellent flow in this music and singing cast is stunning.

I think this is an underestimated version and Abbado is a VERY good conductor.

This is also a set contaning great sound and package dont leave anything to wish.

I think this match ANY other new versions out there (including Levines) and you cant def. not go wrong with this set.

Firstly let's talk about the brilliant sides of this recording...
I own twelve other recordings of Le Nozze...This set offers one of the most consistently assured performances available...
Lucio Gallo(Figaro) has the characterization hidden in his voice...an intellegent and jolly-sounding Figaro well suited to his role...but he is not the best ofcourse...He can't be compared with Giuseppe Taddei,Hermann Prey or Sesto Bruscantini the Past time Figaros...But he can be the one after them in the first place...(in my heart)....Sylvia McNair is a Brilliant Susanna...I usually don't like her other recordings but she is the one to be Susanna...She gives you the taste of an intelligent servant and is succesful with her singing style...Bo Skovhus is one of the best Conte I've ever listened...He gives his dark and sharply defined reading of the Conte's role....If you love Bartoli you will also love her Cherubino...it depends on your thoughts about her...I think she is excellent and gives you the contrast with Susanna and the Contessa...Studer is not my kind :) I won't like her anyway...Even if she has done a brilliant job in this recording...And Wiener Philharmoniker and Abbado...This couple is my favourite...Mostly I prefer Berlin Philharmoniker with Abbado but in this recording his job with the Wiener is like a miracle...Abbado presents a very elegant way of conducting...And the Wiener gives a very polished answer to him...

Now, let's talk about the mistake: A thing that musn't be in such a great recording of such a great recording label...
At the 2nd cd...3rd act...After Hai gia vinta la causa....The following recitativo must be no:39 E decisa la lite (Don Curzio,Marcellina,Conte,Figaro,Bartolo)...but in this recording it is not...it is Andiam andiam bel paggio..The recitativo with Cherub. and Barbarina....First I thought that there is a cutting in this recording but after I listened the rest I saw that ''e decisa la lite'' is 3 tracks later in the place of ''andiam andiam bel paggio'' ...a little swap problem...But it doesn't make a change on my thoughts about this recording...It is higly reccomended if you are Figaro fan...

M. Can EL

This set is the first set I bought FIGARO. Before listening to this set, I listened to the one set by Solti and Marriner.(The disc conducted by Marriner is very good. )

I think the singers in it are very good casting. Especially, Cecilia Bartoli(I'm a big fan of her) does a wonderful job as Cherubino. And, Cheryl Studer(Now she is not good as what used to be) is good Countess as well as that of Schwalzkopf.

This set is the new generation recording of FIGARO! A must buy. I higly recommend it.

I was incredibly disappointed with this recording and shocked to find so many boasting reviews for it! The singing on the whole is dreadful. Studer is wobbly, past her prime and the same is the case with Gallo. McNair is passable, but the voice is not particularly warm or pleasant as the cute maid Susanna. The only voices that are enjoyable are Bartoli's (never heard anything I didn't like from her!) who handles the trouser role of Cherubino with bravura, and Skovhus's beautifully resonant Count. The strongest part of this recording is Abaddo's masterful conducting. However, the unpleasantness of the leads' voices make this recording a chore to get through. I recommend the Levine or Bohm recording for some of the beautiful singing and meaningful characterization.