"Barenboim continues to favour a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas…John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus…but he does at all times create a lively personality, a force to be reckoned with…" (Gramophone)
On this 3-CD album Claudio Abbado brings to Figaro, Mozart's "sublime mixture of wit and melancholy" (Stendhal), "a keen sense of rhythm and texture and a very keen ear for orchestral detail" (Gramophone), with Cecilia Bartoli "ideally cast", an "enchanting" Sylvia McNair, and Cheryl Studer giving a "totally radiant performance"(The Penguin Guide).
Jean-Louis Martinoty’s production and the sets are—merciful heavens—firmly rooted in the 18th century, but by no means weighted down by convention. This Count Almaviva is something of an art connoisseur, a point underlined at the start of act III, where he is seen discussing artefacts that have been brought to him for possible purchase. One, an hourglass, will later be examined by the Countess while she sings “Dove sono,” one of many imaginative little touches. The décor is thus dominated by pictures, mainly by lesser-known French 18th-century artists like Outrey, providing considerable flexibility, and working to magical effect in the final act, where Almaviva’s gardens are based on decorative floral designs by Jan van Huysum and others, the translucency of which greatly aid the unraveling of the complexities being played out. The period costumes are equally attractive; richly burnished or muted yellows and browns for the principals, with bright primary colors for the peasant chorus, although my wife took exception to Marcellina’s red and white candy stripes. ..
Mozart’s Le nozze di Figaro is an unforgettable opera about love, desire and the primal force of uncontrollable passion. Concluding the Salzburg Festival’s highly successful Mozart / Da Ponte cycle, director Sven-Eric Bechtolf sets this emotional tour de force in a stately English country house during the 1920s. The renowned Vienna Philharmonic ensures an exceptional evening of music from Mozart’s birthplace. “Everything about the show exuded immediacy and naturalness: the intriguingly updated production by the director Sven-Eric Bechtolf; the winning performances of a compelling cast; and the supple, glowing playing that the conductor Dan Ettinger drew from the Vienna Philharmonic…”. (The New York Times)
In 1988 when this period-instrument Figaro was released, the style was still a novelty, and Ostman gained some notoreity for his rushed tempos as well as the scrawniness of his chamber orchestra, by far the smallest to play this great opera on CD. Yet when I read a glowing review by Andrew Porter in the New Yorker, I immediately bought the performance, shortly discovering that it was a true gem in the extensive Figaro catalog.
By Santa Fe Listener
In his 2003 production for the Maggio Musicale in Florence, director Jonathan Miller invested the complex relationships between the characters with countless tiny erotic charges and even obvious sexual symbols. The artistic director of the renowned Maggio Musicale festival Zubin Mehta brings out not only the tension and drive of the music but also its harmonic richness. The singers all belong to the international opera scene and not only provide excellent vocal quality but also strong acting skills, which help to tell the gripping story with its many disguises, mix-ups and discoveries: Russian soprano Eteri Gvazava internationally recognised since her sensational Traviata à Paris filming partnering José Cura is wonderful to watch and to hear in the role of the sad but contriving Countess Almaviva. Patrizia Ciofi, the Italian belcanto star is Susanna with all her intriguing acting skills and her pointed vocal intensity. Lucio Gallo who plays the evil character in this plot is one of the foremost Italian baritones. The title role is sung by Giorgio Surian, a bass-baritone who started off on the Italian opera scene, but has since made a steady career on international opera stages.
The Marriage of Figaro, as this elegant 1994 production brilliantly reminds us, was a French bedroom comedy before it became a Mozart opera. It is a classic of French literature, and it is still enjoyable as a spoken play after more than two centuries of existence. Its literary quality gives this production a special flavor. The music–some of Mozart's finest–is beautifully presented by a carefully chosen international cast (including Giovanni Furlanetto, Elzbieta Szymtka, Janice Watson, and Ludovic Tezier), but what sets this production apart is its theatrical flavor, cultivated by a director who is an expert on classic French theater. The standards of spoken theater are upheld in timing, body language, the inflection of punch lines. These qualities are more important here than in most operas; style is both crucial and elusive. Fortunately, the Opera de Lyon, one of most imaginative companies in Europe, shows an impressive sense of style. (Joe McLellan)
This luxuriously cast film of Mozart's beloved opera buffa features a host of legendary interpretations, including Kiri Te Kanawa's exquisite Countess Almaviva, Dietrich Fischer-Dieskau as her philandering husband, Hermann Prey as the wily title character, Mirella Freni, a delight as his no less savvy bride Susanna, and Maria Ewing, hilarious as the lovesick page Cherubino. Director Jean-Pierre Ponnelle's imaginative camera-work tellingly emphasizes character and mood in this immortal story of love, intrigue and class struggle, set against the historical background of ancien regime Europe sliding inexorably towards revolution.