Le nozze di Figaro - purpose weapon against boredom

On 17 April 1784 was made after much back and forth, the premiere of the play "La Folle Journée ou Le mariage de Figaro" at the Comédie Francaise, a satirical comedy of the watchmaker, playwright, businessman and professional widower Pierre Augustin Caron, ennobled de Beaumarchais. Anyone who wants to learn more about this fascinating character, the reading Bergners "The unknown Beaumarchais' or Lion Feuchtwanger realist novel" Foxes in the Vineyard ". Beaumarchais' comedy about the valet and the former Barber of Seville, which rises out of love for a maid not only to his Lord, but he also defeated yet, arrived in France with his absolutist monarchy of the powerful open rebellion equal. The play was immediately banned, only three years after its creation and on many insinuations hearing was Louis XVI. it performed freely and all of Paris wanted to see it. Even the Versailles courtiers played it in the "Petit Trianon" with the queen Marie Antoinette as Countess Almaviva. They still had no idea how short the volcano was to erupt.
Emperor Joseph II., Who saw himself as an enlightened monarch, his court poet Lorenzo da Ponte allowed the transformation of this "impossible" piece in an opera libretto only on the condition of Elinimierung all offensive and socially critical points. Da Ponte defused obey his paraphrase, the rebellious general thrust of the work, the revolt of subjects against the ruling, but does not let out stress. Thus arose, based on Beaumarchais' template, an accomplished musical comedy with innumerable intrigues, misunderstandings, confusion and revelations that probably most successful playbook, the Mozart has ever set to music.
The could unfold here and created a music that twinkles with the ingenious ideas only so. Each individual score number is a winner and a catchy tune, the one recognizes immediately after one hearing. Mozart meets at the characterization of the characters and the description of situations always the right tone and ends up even in the most turbulent ensemble safely on a lyrical point of rest.
On May 1, 1787 "Le nozze di Figaro" was first in Vienna Hofburg - given theater. About the reaction of the audience there, the enthusiasm storm to total Duch case, a variety of reports. It is certain that the opera remarkably quickly disappeared from the board and only after the premiere in Prague was a real hit with the public, whose popularity has not suffered until now.
Of course, the one who is looking for a complete recording, again spoiled for choice. You could whole shelves with Figaro - complete recordings, each classical label provides at least two of them. Levine Einpielung of 1991, despite the very high price, for anyone who wants to have a modern yet classical recordings in the best sense, the right choice. Levine are, as always, a moderate basic tempo, passes on this basis, the Metropolitan Opera Orchestra liquid and peppy, without neglecting the lyrical moments. The sound quality is top notch course, also has no effect, as with many digital recording, from the ground up sterile. A little tip on the edge: Who, like me, the harpsichord eventually gets on my nerves is grateful perceive that the recitatives are accompanied here with Hammer piano, cello and double bass. Even the high-class ensemble of singers throughout speaks for itself:
Excellent is the occupation of Figaro with Ferruccio Furlanetto. This role was originally designed for a "basso cantante", a youthful-sounding, sleek bass. Over the centuries, more and more baritones eigenten to the Figaro, Furlanetto is the best advertisement for the original version. Especially in the ensemble with Susanna and the Countess the lowest male voice harmonizes better with the two Sopränen, on the other hand, the contrast with the baritone Count Almaviva is so apparent. Presentational missing Furlanetto Figaro somewhat erotic attraction, it's more of a good-natured, mischievous and crafty valet, which you can treat the joy, vigorously wipe his arrogant Lord, which he himself once was indeed assist in "Ms. Fang" multiplication table. With the "Leporello" under Karajan this "Figaro" is your best shot for me Furlanetto.
Even his partner Dawn Upshaw as Susanna convinced almost entirely. She is a disarmingly spirited Susanna with youthful clear voice, absolutely credible in their representation. However, it lacks a little the desire for love, the spark between her Susanna and Figaro does not quite skip sometimes. Even the alluring places it is more concerned with clean vocal line, its best moments it has a lively, mocking maid to the Countess, with her famous "Rose aria" beautiful device.
Full of love and pain Noblesse is the Countess Almaviva of Kiri Te Kanawa. It seems that many other actresses is not the case, in the scenes where the intrigues are spun against her unfaithful hubby, nor the refined citizen daughter Rosina through. Your tendency to exhale lots, she has filed here very well under control, it sounds powerful and fresh, never. Especially her aria "Dove sono i at momenti" she sings very expressive.
A true picture book - Graf's Thomas Hampson. Except for two little dirty approaches in his aria he sings uniformly excellent, dominated both the lovesick whispering, as the imperious, almost cruel behavior towards his wife. He never looks brutal or forfeit the charging. His Graf is a very charming disgust, a victim of his impulses and thus closely related to Don Giovanni.
Also for Cherubino of Anne Sofie von Otter no word of praise is too high. She sings this memorial for all adolescent with youthful energy, the "sex change" succeeds marvelously. You think you so terrible torments of adolescence period enamored pages, the two Cavatinas I have heard even more urgent by any actress and also sung better.
The Marcellina of Tatinana Troyanos I have some difficulties. Her timbre is very wide, among which Texverständlichkeit suffering, in the rarely sung aria in Act 4 it seems rather uncertain. But she does not play silly matron but a tedious for dignity Fighting Lady. The conversion from the old to the heiratswütigen loving mother within a few seconds succeeds very credible.
Very good reception are also other roles, such as Anthony Laciura schemer Basilio, who finally allowed to sing his aria once, and Heidi Grant as a sweet, mischievous Barbarina; even the veteran Renato Capecchi as Antonio one hears gladly again. A little too blustering Paul Plishka acts as Don Bartolo.
Who is looking for an excellent occupied and running recording in the best sound quality, which is me this recording to the complete satisfaction operated.