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Le Nozze di Figaro
The star-power of this cast of Figaro is nothing short of dizzying. In the title role, José van Dam is commanding yet approachable, paired beautifully with Ileana Cotrubas's well-rounded Susanna. Both radiate a natural charm without resorting to cutesiness. Frederica von Stade's Cherubino bursts with youthful energy and a surprising emotional depth, while Anna Tomowa-Sintow offers some truly sublime, full-throated singing as the Countess. Unencumbered by the constraints of modern period performance practices, Herbert von Karajan allows the drama to shape his musical choices. Some of his tempi may catch listeners off guard, but within the emotional arc of the story, they make perfect sense and heighten the opera's theatricality.
Track List
Act I
1. Overture
2. Cinque... dieci... venti...
3. Se a caso Madama la notte ti chiama
4. Se vuol ballare, signor contino
5. La vendetta
6. Via, resti servita, madama brillante
7. Non so più
8. Cosa sento! Tosto andate, e scacciate il seduttore.
9. Giovani liete, fiori spargete
10. Non più andrai
2. Cinque... dieci... venti...
3. Se a caso Madama la notte ti chiama
4. Se vuol ballare, signor contino
5. La vendetta
6. Via, resti servita, madama brillante
7. Non so più
8. Cosa sento! Tosto andate, e scacciate il seduttore.
9. Giovani liete, fiori spargete
10. Non più andrai
Act II
11. Porgi amor
12. Voi che sapete
13. Venite, inginocchiatevi
12. Voi che sapete
13. Venite, inginocchiatevi
Act III
14. Che imbarazzo è mai questo!
15. Crudel! Perché finora farmi languir così?
16. Hai già vinto la causa!
17. E Susanna non vien!... Dove sono
18. È decisa la lite
19. Riconosci in quest'amplesso una madre, amato figlio!
20. Sull'aria
21. Ricevete, o padroncina
22. Ecco la marcia, andiamo!
15. Crudel! Perché finora farmi languir così?
16. Hai già vinto la causa!
17. E Susanna non vien!... Dove sono
18. È decisa la lite
19. Riconosci in quest'amplesso una madre, amato figlio!
20. Sull'aria
21. Ricevete, o padroncina
22. Ecco la marcia, andiamo!
Act IV
23. L'ho perduta
24. Tutto è disposto... Aprite un po' quegli occhi
25. Giunse alfin il momento... Deh, vieni, non tardar
26. Pian pianin, le andrò più presso
27. Tutto è tranquillo e placido
28. Pace, pace, mio dolce tesoro
29. Gente, gente, all'armi, all'armi!
30. Questo giorno di tormento
24. Tutto è disposto... Aprite un po' quegli occhi
25. Giunse alfin il momento... Deh, vieni, non tardar
26. Pian pianin, le andrò più presso
27. Tutto è tranquillo e placido
28. Pace, pace, mio dolce tesoro
29. Gente, gente, all'armi, all'armi!
30. Questo giorno di tormento
Customer Reviews
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4.8
Based on 4 reviews
✓ Verified Buyer
United States
Stellar cast, great performance
There are no weak spots in this cast, and the conducting of Herbert von Karajan is superb. The audio quality is very very good, although the occasional stage noises are a bit distracting.
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✓ Verified Buyer
United States
✓ Verified Buyer
United States
✓ Top Reviewer
United States
Wonderful Performance, Good Sound!
Karajan's famous studio recording from 1978 was and remains one of my favorites for this opera, but this live performance shows why "live" is almost always better. There is a life to the recitatives that the studio performance just doesn't have. They're not bad in the studio recording, but they never have the spontaneity that is heard here. The immediate and enthusiastic response of the audience contributes greatly to the sense of enjoyment that everyone seems to have including the conductor. His tempi are fleet, but never rushed. He is at one with his cast.Van Dam and Cotrubas are much sexier here than in the studio. Von Stade receives ovations for her two arias. Tomowa-Sintow is greeted with silence after her "Porgi amor", but an ovation after "Dove sono". Krause is a terrific Count and the supporting cast is superb, all more lively than they were in the studio. The fly in the ointment here is the sound. This is not a burn of the recently out-of-print Orfeo set; it is from a later performance in the run and was recorded in-house by a sometimes fidgety tapist. The voices are certainly audible though the volume fluctuates quite a bit. I got the impression this was recorded from different seats in the theater.Any Figaro fan should listen to Karajan's studio recording with this cast, but then listen to this live performance to hear what is missing.
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