Mozart: Le Nozze Di Figaroby Anonymous
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November 09, 2006:
The first digital recording of "Le Nozze" is one of the best. Solti brings a swift yet controlling hand to the music and never lets the energy lag. There is no better Susanna than the late Lucia Popp. Her tone is brilliant and playful, while still being able to convey the pathos of "Deh, vieni." Te Kanawa is recorded very, very well and is in wonderful voice. Samuel Ramey, at the time was early in his career and hadn't yet begun to swallow his tone, sings with aplomb and humor. Sir Thomas Allen is a richly voiced, smooth and noble Almaviva overflowing with jealousy and passion in the Act II finale. The other singers acquit themselves of their roles nicely, particularly a youthful Frederica von Stade as Cherubino. All the usually cut numbers are present here, such as the arias for Marcellina and Basilio. Worth every penny of the price, but highlights are available as well.
Mozart: Le Nozze Di Figaroby Anonymous
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September 27, 2006:
There is no questioning the unique brilliance of this music. If Jommelli's Il Vologeso gives us perfection, Mozart's opera offers supercharged perfection. The remarkable kinetic energy of the overture carries over to quick repartee among the characters. The problem is that I cannot identify with the society pictured here. Taken at face value, the Marriage of Figaro and Don Giovanni should be praised for condemning adultery. But these operas have not been taken at face value. There is some question whether they were meant to be. In Don Giovanni the wretched Don is supposed to be some kind of hero. In the Marriage of Figaro another lecherous nobleman, Almaviva, is outwitted. The problem is that he needs to be guillotined. Granted that these operas testify to a dying feudalism, the means proposed to overthrow these sexual villains are too mild.
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