"… a fascinating glimpse into the history of the Salzburg Festival…The designer is Rudolf Heinrich, whose atmospheric sets cleverly suggest the different rooms in the Almaviva mansion within which Rennert, as ever, directs the work with an unforced feeling for the thoughts and actions of the Count’s scheming household and entirely without exaggeration…Berry’s then-reigning Figaro leads his eponymous opera with the confidence and exuberance of long experience in the part. His antagonist is the sturdy, impulsive Count of Wixell, obviously driven by testosterone. Both sing with absolute command of the stage and boast exemplary tone and technique with voices of properly contrasted timbre… Reri Grist’s Susanna is at once worldly-wise and quick-witted…" - Alan Blyth, GRAMOPHONE
Are you ready for extreme 18th century keyboard? The typically sparse packaging graphics of this ECM release may indicate only to German speakers what's contained inside: a "Tangentenflügel" is a tangent piano, a rare keyboard instrument of Mozart's time that used hammers, striking the strings at a tangent, but no dampers. The sound combines qualities of a clavichord (its nearest relative, but the tangent piano is louder), a fortepiano, and a harpsichord.
'When all is said and done, Kuijken and Hyperion have given us perhaps the most fully satisfying recording yet of the work—one not likely to be challenged for some time'(American Record Guide)