Mozart: Le Nozze di Figaro

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!

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.

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!

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.