This opera, the most popular of Mozart, had a unique opportunity with the disk: there are many globally successful versions, very nice (which is unfortunately not the case of "Don Giovanni" for example). And among all these versions, it finally seems to prevail, though God knows the competition is tough (Kleiber, Karajan, Giulini, Böhm, Muti ...) Sir Georg Solti we perhaps his best book here discographic success (in the operatic field, at least), and cast it a lot. No doubt he must give thanks to producer Christopher Raeburn to have met here in 1982, the finest imaginable distribution at the time. The female trio is unsurpassed. What to say? The Countess of Kiri Te Kanawa is a voice of splendor miracle. It's an almost unreal beauty belongs to her, and at this level, it is no longer singing, but of magic. Lovingly accompanied by the great Hungarian maestro, suspend the flight time in his two sublime air, and one remains speechless faced with such grace. One shudders, it is weightless: in terms of pure beauty is unique and probably unique in the history of the disc. Susanne Lucia Popp is vocally fresh and bright as crystal water, and the triple terms of technique, style and interpretation, simply flawless. A reference. Frederica von Stade is, meanwhile, a legendary Cherub. Its tone pastel colors and its interpretation - perfect blend of youthful enthusiasm and tender sensuality - make two unforgettable tunes. When we have said that the male performers face it, they do not demerit, we will have already given an idea of the level on which their services are located. But some detail, for fun. Thomas Allen is superb in the role of Count, in which he brings a very adequate vocal color, just authority in the accent and a touch of British elegance my faith quite welcome. Also superb Figaro Samuel Ramey, a rare stamp sumptuousness, and a phenomenal presence, both vigorous and feline. Formidable finally (and in the true sense of the word) the Bartolo Kurt Moll whose magnificent voice can be menacing and rumbling like thunder. Male voices hand, as another reviewer said, yes, "it rumble!" At the head of a London Philharmonic in great shape, Sir Georg grasps a partition he loves and knows so well, to which he gives life (listen as open fuse!) And the whole cohesion of all it takes (not a single arbitrary or inconsistent tempo). This direction as energetic as sensual, sinuous and simmering, is the ideal setting for this distribution fairy tale. In conclusion, the "Wedding", which are not likely to be equaled almost one day, one of the finest opera recordings of the twentieth century, and a scathing refutation to those who say that perfection is not of this world ...
