Customer Reviews

Mozart: Le Nozze di Figaro, K192 (The Marriage of Figaro)

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

 

 

Despite limitations in sound, this Figaro offers us a compelling picture of the work of Karl Bohm and the famous Vienna Ensemble in the postwar era. The live occasion adds a great sense of frisson and theatre into the entire performance. Bohm conducted the ever-marvelous score with real affection and understanding of the Mozart idiom. In the all important act two finale, Bohm convincingly built up the tension amongst the protagonists which led to the show down between Figaro-Susanna-Countess and Count-bartolo-marcellina-basillio. Besides, he supported the singers wonderfully, especially to Schwarzkopf, who gaves perhaps her best performance of the Countess on disc. 'Porgi amor' and 'Dove Sono' were sung with real feeling and dramatic tension. However, Schwarzkopf is not the only star. Here we have Eric Kunz's Figaro, Seefried's Susanna Ludwig's Cherubino and Dieskau's Count, famed portrayals all in their absolute, compelling best, even if Seefried sounded a bit dry at times. And the ensemble of great names were totally responsive to each other, acting out the recitatives most involvingly, as though they were the characters...this is something that can never be emulated in the studio. Adding the marvellous playing of the Vienna Philharmonic, this is a set in a millions and for all Mozartians to enjoy. And as though we are not spoilt enough, this disc offers the bonus of Seefried's endearing early 1950s recordings of Mozart arias.

Two facts about this CD are not shown in the listing; thanks to " A music fan's" review, we know that it is a recording of a live performance. The other fact is that it is a mono recording ( from 1957 ). However, I deduct only one star from my rating, because of the marvellous cast, and for Bohm's entire approach to Mozart'a music.

THIS TITLE SHOULD BE GIVEN 5 STARS BY ANY OPERA LISTENER. THIS WAS MY VERY FIRST OPERA AND FEWER THAT I HAVE BOUGHT AFTERWARDS (EVEN THOUGH HIGHER PRIZED), GIVE YOU SUCH A REAL SOUND. YOU CAN EVEN HEAR THE FOOT STEPS OF THE PERFORMERS IN THE SCENARIO, AND THE PUBLIC LAUGHING WHEN THE COUNT HIDES IN THE SAME PLACE THAT CHERUBINO WAS USING PREVIOUSLY WITHOUT NOTICING EACH OTHER; AND THE PERFORMERS, THEY REALLY KNOW WHAT THEY ARE DOING. IF YOU CLOSE YOUR EYES YOU CAN TRANSPORT YOURSELF IN TIME TO THE VIENNA STAATSOPER. OF NOTE IS THAT I HAVE OTHER VERSIONS OF THE SAME OPERA BUT I WON'T REVEAL THE NAMES FOR ETHIC PURPOSES.