Mozart: Le nozze di Figaro, K492 (The Marriage of Figaro)

“the first incontestably great recording [of Figaro]. Everything about [Kleiber's] conducting is just right” Gramophone Magazine, Awards Issue 2011

“René Jacobs always brings new ideas to the operas he conducts, and even to a work as familiar as Figaro he adds something of his own. First of all he offers an orchestral balance quite unlike what we are used to. Those who specially relish a Karajan or a Solti will hardly recognise the work, with its strongly wind-biased orchestral balance: you simply don't hear the violins as the 'main line' of the music. An excellent corrective to a tradition that was untrue to Mozart, to be sure, but possibly the pendulum has swung a little too far.
Jacobs is freer over tempo than most conductors.
The Count's authoritarian pronouncements are given further weight by a faster tempo: it gives them extra decisiveness, though the music then has to slow down. There are other examples of such flexibility, sometimes a shade disconcerting, but always with good dramatic point. The Count's Act 3 duet with Susanna is one example: the little hesitancies enhanced and pointed up, if perhaps with some loss in energy and momentum. Tempos are generally on the quick side of normal, notably in the earlier parts of the Act 2 finale; but Jacobs is willing to hold back, too, for example in the Susanna-Marcellina duet, in the fandango, and in the G major music at the dénouement where the Count begs forgiveness.
The cast is excellent. Véronique Gens offers a beautifully natural, shapely 'Porgi amor' and a passionate and spirited 'Dove sono'. The laughter in Patrizia Ciofi's voice is delightful when she's dressing up Cherubino, and she has space in 'Deh vieni' for a touchingly expressive performance.
Then there's Angelika Kirschlager's Cherubino, alive and urgent in 'Non so più', every little phrase neatly moulded. Lorenzo Regazzo offers a strong Figaro, with a wide range of voice – angry and determined in 'Se vuol ballare', nicely rhythmic with some softer colours in 'Non più andrai', and pain and bitterness in 'Aprite'. The Count of Simon Keenlyside is powerful, menacing, lean and dark in tone. Marie McLaughlin sings Marcellina with unusual distinction.
Strongly cast, imaginatively directed: it's a Figaro well worth hearing.” Gramophone Classical Music Guide, 2010

“René Jacobs conducts one of the refreshing versions of Figaro to be issued in many years...Véronique Gens is one of the most distinguished of Countesses, and Patrizia Ciofi is a sparkling Susanna, while Simon Keenlyside is a superb Count, well contrasted with the strongly acted Figaro of Lorenzo Regazzo.” Penguin Guide, 2010 ****

“As with many conductors of his generation, Karl Böhm had a now-unfashionable liking for a rallentando at the end of an aria, but that pales into insignificance alongside the many virtues of his conducting. The cast is splendid” Gramophone Magazine, Awards Issue 2011

“Boehm's version of Figaro is...among the most consistently assured performances available. The women all sing most beautifully...Fischer-Dieskau gives his dark, sharply defined reading of the Count's role. All told, a great success, with fine playing and recording, here impressively remastered.” Penguin Guide, 2010 ***

“The most enchanting of Susannas on record, Lucia Popp gives a sparkling and radiant performance. Crowning all is the Countess of Kiri Te Kanawa. With a superb, vivid recording, this now make a clear first choice for a much-recorded opera.” Penguin Guide

“Solti's Figaro has one of the finest casts of singers that one could contemplate and at the recording session in June of 1981 they were all in fine voice.” Gramophone Magazine, April 1984

“Kiri te Kanawa sings the Countess's aria with meltingly beautiful tone...The discreet flirtation with Cherubino...is done with some feeling...Thomas Allen is quite simply superb as the Count.” Gramophone Magazine, Awards Issue 2011

“Harnoncourt...makes the Royal Concertgebouw Orchestra produce fresh, light and transparent sounds, close to period style...Recitative at flexible speeds conveys the dramatic confrontation and complications vividly. A version that gets the best of both interpretative worlds, old and new.” Penguin Guide, 2010 ***