Mozart: Le Nozze di Figaro - Franz Welser-Most

This is Schrott's second Figaro in a less than twelve month period, the earlier being the ROH production. The two productions have vast differences as well as similarities. The ROH production as been set in the equivalent of the Regency period--Spanish version. The Zurich is set in what appears to be the 1950's. For those who note such things, Schrott can appear sans shirt, but in an undershirt in the Zurich house. Vocally there is no difference between the two performances. The man has a glorious multi-hued voice over which he has complete command. Not only is he good looking he can act. He should have a great career. Indeed, the virile sound he produces would lead one to wonder if the great Verdi baritone roles are within his ability.The other main vocalist is Malin Hartelius, the Countessa. She has developed from a Pamina lyric to a patrician lyric who one day will make a superb Marschallin. In fact Ms. Hartelius is the only countessa who is able to make the class distinction between Susanna and Rosina--not since Schwarzkopf has there been a singer who understands this social division.The remaining singers, Martina Jovanka (Susanna) Michael Volle (Count) and Judith Schmid (Cherubino) are good if not quite comparable to their counterparts at ROH. My main complaint with this production is the variable sonics: the harpsichord accompanying the recits is barely audible for much of the time. This is most annoying since this is a problem which surely could have been corrected before the DVD was released.Which Figaro to choose? This new Zurich prodcution will win no plaudits from me. Sven-Eric Bechtolf is responsible for some bizarre productions at Zurich, notably the Rosenkavalier and Pelleas. The Figaro is almost a model of conservatism but not of imagination--budgetary constraints? The ROH production is far more opulent. The most beautiful production is the Rene Jacobs' performance. The weakness in that set is the Countessa, Annette Dasch, more of a Susanna than a Rosina. The John Eliot Gardiner boasts the same weakness. These two performances are HIP if that is a consideration. Because it is so reasonbly priced the first Glyndebourne performance should be in everyone's collection, if only for the great performance of Von Stade's early Cherubino, a role she owned for many years. The second Glyndebourne is very good, but Renee Fleming lacks the magic that she can be capable of. Bottom line: no one performance has all the virtues that one looks for, but then that is true of most DVD's.

If you're seeking a "traditional" production of Le Nozze di Figaro, I can tell you "why not!" This is a dramatically eccentric mis-en-scene, on the edge of trying-too-hard bizarre but extremely well sung. Please notice that amazon has fuddled the reviews once again; several of the low-star reviews herewith are not of this DVD at all but pertain to a different production, one I haven't seen, starring Daniela de Niese. Susanna in this production is sung by Martina Jankova, la Contessa by Malin Hartelius, and Marcellina by Irene Friedli. All three female leads sing extremely well, and Hartelius is arguably the best Contessa you'll ever hear. Add Judith Schmid as the love-striken lad Cherubino, and you have an outstanding "upper register" for the rendition of Mozart's score.Erwin Schrott sings Figaro. His portrayal, both musically and theatrically, offers a variant interpretation from the usual. Schrott's Figaro is a "hunk" of a man, again both vocally and theatrically. He's not the clever Figaro of Beaumarchais or of most Mozart/Rossini stagings. In fact, he's a little dim; he needs plenty of handling by the women in his life. None of his schemes prove helpful. It's Susanna, the Countess, and surprisingly Marcellina who pull Figaro's chestnuts out of the fire.The wildest variant from traditional productions, however, is the portrayal of Conte Almaviva, sung here by Michael Volle. This Almaviva is pure slapstick, an upper-class fop, a wouldbe magician, a lecher as hapless as any in a Marx Brothers film. Volle sings much of his role in a silk bathrobe. You'll either hate this portrayal or tolerate it for the sake of the music. As I said before, Why Not?If you've already figured out that this is a Nozze which aims for laughs above all, you're a clever reader. The minor characters -- Bartolo sung by Carlos Chausson, Basilio sung by Martin Zysset, and Barbarina sung by Eva Liebau -- are pure vaudeville. Barbarina is a sex-crazed airhead who can hardly keep her knees together. All three are indeed ludicrously funny. If you find their antics "over the top," well, you'd best stick with traditional productions.Conductor Franz Welser-Möst is impeccable in his choice of tempi and his musical accord with the foolishness on stage. The singers are equipped with radio-microphones, a technology that has become more or less standard. The results are excellent in terms of balance between orchestra and voices.If you've never seen/heard Le Nozze di Figaro -- there must be a few people who haven't -- or even if you've heard/seen it only once either live or on DVD, you might be wise to choose a traditional production first.  Mozart - Le nozze di Figaro (The Marriage of Figaro) / Jean-Pierre Vincent · Paolo Olmi - G. Furlanetto · Szymtka - Opéra National de Lyon  would be an excellent starter. This is a Nozze for the jaded, blasé opera fan, someone who has seen four or five stagings and who is willing to be amused by irreverence.

This is the first Figaro I have heard, starting with the 1934 Glyndebourne recording, where the Countess, with all her conflicted emotions, gets a perfect rendition. I have come to expect great insights from Malin Hartelius, but this performance exceeded my expectations. Her dramatic performance in no way compromised her musical accuracy,at any time. She has given every phrase her full attention, in the best tradition of lieder singing. The audience responded with long applause.Michael Volle, as the Count, also pleased. He is a good bit more dramatic than Rodney Gilfry on the Gardiner DVD. Hillevi Martinpelto, the countess on the Gardiner DVD, is very reserved in the solos, but comes alive in the ensembles.The remaining singers are about equal on both these DVDs, which brings me to the conductors. Welser-Most offers a beautiful subjective interpretation with flexible tempi that never drag or race. Gardiner gives an ideal performance according to HIP standards. I enjoy both.Staging is another matter. The Gardiner is staged by Jean Louis Thamin, minimalist but traditional. This new production staged by Sven-Eric Bechtolf is sexually highly charged, although I did not spot any nudity. Every possible Freudian reference is fully exploited. At first I rebelled, but watching this a second time, I began to see some value in this. Unlike Bechtolf's Rosenkavalier and Don Giovanni, the added action is more focussed. In other words, this action while a bit hyper, does add to the comprehension of the story. As I write this, Cleveland Ohio critics are giving the, very similar, Severance Hall performances great reviews. If you don't accept Mozart's "potty mouth" childish side, you may want to avoid this DVD and get the Gardiner one.

Great singing and acting in this updated zurich figaro

They sing well, even in the ensembles, the setting is OK, it is clear what is happening, no strange modernizations etc. Nothing very special, but a pleasure to watch

Je n'ai pas trop aimé la direction d'orchestre, et, décidément, les personnages du 18 ème siècle dans des costumes actuels, avec des attitudes actuelles ne collent pas avec l'esprit des Noces.

Cet enregistrement est très beau, très délicat ; Erwin Schrott fait merveille en Figaro, avec la fougue et l'énergie qui sont siennes.Marina Jankova est une parfaite Susanna.Les détails de la mise en scène moderne, comme par exemple tout au début le bricolage du lit avec la prise de mesures, le porte-jarretelles à la place du ruban, etc, sont rafraichissants car la musique est restée parfaite mais l'histoire a quand même un peu vieilli; une modernisation de l'histoire prouve de plus que la musique est toujours aussi parfaite et délicate tout en étant de l'énergie pure.Le plaisir est au rendez vous avec cet enregistrement ; des noces magnifiquement chantées et côté mise en scène le caroussel de la fin est une jolie invention tout en respectant l'esprit de l'oeuvre.Plaisir intact d'écouter ces Noces de Mozart, magnifique hymne d'une énergie incroyable, toute en maitrise structurée et très poétique à la fois.

Trés bonne interprétation avec , pour une fois, des chanteurs qui sont réalistes , et dont le physique est trés approprié dans leur roles respectifs, une direction d'orchestre trés mozartienne et retenue chaque fois que nécessaire pour donner leur place aux voix des chanteurs. On ne peut que réécouter et revoir aussi avec plaisir. Certains pourront regretter le modernisme de la mise en scène. Mais dans ce genre, celle ci est assez réussie. Rien à reprocher à la technique.