Mozart: Le Nozze di Figaro

( 2 )

Editorial Reviews

Barnes & Noble - Andrew Farach-Colton
As on his critically praised recording of Mozart's Così fan tutte and, indeed, his many recordings of Baroque operas, René Jacobs employs a period instrument orchestra and a historically informed interpretive approach on this outstanding Le Nozze di Figaro. The resulting unusual tempos, sparkling orchestral playing, and ornamented recitatives all ring true, but of even greater consequence is the performance's dramatic authority. From the opening scene, where Figaro and his bride-to-be prepare their nuptial bed, to the heartrending finale, with its themes of love and forgiveness, Jacobs doesn't make a wrong move -- which really shouldn't surprise, as the ...
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Editorial Reviews

Barnes & Noble - Andrew Farach-Colton
As on his critically praised recording of Mozart's Così fan tutte and, indeed, his many recordings of Baroque operas, René Jacobs employs a period instrument orchestra and a historically informed interpretive approach on this outstanding Le Nozze di Figaro. The resulting unusual tempos, sparkling orchestral playing, and ornamented recitatives all ring true, but of even greater consequence is the performance's dramatic authority. From the opening scene, where Figaro and his bride-to-be prepare their nuptial bed, to the heartrending finale, with its themes of love and forgiveness, Jacobs doesn't make a wrong move -- which really shouldn't surprise, as the conductor cut his teeth as an opera singer. As for the cast, again we have a youthful, characterful group of singers. Few of the names are particularly well known, but what a well-balanced quintet of principals they make, and this is an opera whose great glory lies in its ensembles. The recording is very well balanced, too, providing a naturalness that's realistically theatrical. Enthusiastically recommended.
All Music Guide - James Leonard
No matter how many times you've heard "Le nozze di Figaro," you owe it to yourself to hear this "Le nozze di Figaro." It is fresh and funny and silly and moving and enchanting and as wise and as knowing as the work itself. The singers are the ideal kind of opera singers who make you forget they're singing because their acting is so good and their characterization is so complete. And when you do attend to their singing, their exquisite tone and effortless virtuosity make you remember what great singing is all about. The conductor is the ideal kind of opera conductor who makes you forget he's conducting because the humor of the drama is so funny and the humanity of the drama is so profound. And when you do attend to Jacobs' conducting, it is so graceful and elegant that you remember all over again just what a supreme composer Mozart was. And when you attend to the playing of the Concerto Köln, you remember all over again what a great orchestrator Mozart was. Simply put, this is as great a "Le nozze di Figaro" as has ever been recorded and anyone who loves the work should listen to it. Harmonia Mundi's sound is as good as having the musicians standing before you.
New York Times - Anne Midgette
In Mr. Jacobs's hands, early music regains the quasi-improvisatory, jazzlike flavor it might have had when it was new. He approaches Mozart with the same freshness, and the musicians follow. The Concerto Köln shakes off the trappings of habitual performance practice from the first bars of the overture with brisk, mercifully unpolished animation. And the singers make the recitatives come alive; every word and nuance of the Italian come across with new clarity.
Gramophone
[2004 Record of the Year] Rarely has the music sparkled as here...and Jacobs has gathered together a cast of real personalities.... This is a Marriage of Figaro for a new century, an interpretation of vitality and drama. A magnificent achievement that will gain many friends.
Time Out New York - Marion Lignana Rosenberg
The problem with this new Nozze is that it's so darn good, it might spoil all previous performances for the listener.... Jacobs's Nozze crackles and seethes, alive with anger, sex and rough-and-tumble theatricality.... This is a Nozze for the ages.
The New Yorker - Alex Ross
The first bars of the overture serve notice that the "divine Mozart" is coming lustily to earth. Sforzandos land like sucker punches, legatos become greasy slurs.... Many "name" singers have glided through "Figaro" as if leading a museum tour; these performers, however, aren’t afraid to show some skin, vocally speaking, and in so doing they get closer to the flesh-and-blood Mozart than any other cast on record.
Dallas Morning News - Lawson Taitte
Mozart's masterpiece about the crazy goings-on on Figaro's wedding day has had previous "authentic" recordings. But this one led by René Jacobs feels the most radical and yet is ultimately the most convincing. (A-)
BBC Online - Andrew McGregor
Right from the top this Figaro feels as though it's going to be fun.... The whole experience [is] an absolute joy from beginning to end.... Beg it, borrow it, buy it, blag it...but whatever you do, don't miss it: this is a truly life-enhancing Figaro, and I wouldn't swap it for another.

In Mr. Jacobs's hands, early music regains the quasi-improvisatory, jazzlike flavor it might have had when it was new. He approaches Mozart with the same freshness, and the musicians follow. The Concerto Köln shakes off the trappings of habitual performance practice from the first bars of the overture with brisk, mercifully unpolished animation. And the singers make the recitatives come alive; every word and nuance of the Italian come across with new clarity.
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Product Details

  • Release Date: 5/11/2004
  • Label: Harmonia Mundi Fr.
  • UPC: 794881735624
  • Catalog Number: 901818/20
  • Sales rank: 122,675

Tracks

Disc 1
  1. 1–62 Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 - Wolfgang Amadeus Mozart & Antonio Abete (171:35)
    Composed byWolfgang Amadeus Mozart
    Conducted byRené Jacobs
    Performed byAntonio Abete, Collegium Vocale Ghent, Concerto Köln, Véronique Gens, René Jacobs, Simon Keenlyside, Angelika Kirchschlager, Marie McLaughlin, Patrizia Ciofi, Lorenzo Regazzo, Kobie van Rensburg, Núria Rial, Elizabeth Randall, Yeree Suh
    1. 1Sinfonia
    2. 2Act 1. Scene 1 & 2. Duettino. Cinque... dieci... venti...
    3. 3Act 1. Scene 1 & 2. Recitativo. Cosa stai misurando
    4. 4Act 1. Scene 1 & 2. No. 2. Duettino. Se a caso madama
    5. 5Act 1. Scene 1 & 2. Recitativo. Or bene ascolta, e taci
    6. 6Act 1. Scene 1 & 2. No. 3. Cavatina. Se vuol ballare
    7. 7Act 1. Scene 3. Recitativo. Ed aspettate il giorno
    8. 8Act 1. Scene 3. No. 4. Aria. La vendetta, oh, la vendetta
    9. 9Act 1. Scene 4. Recitativo. Tutto ancor non ho perso
    10. 10Act 1. Scene 4. No. 5. Duettino. Via, resti servita
    11. 11Act 1. Scene 5. Recitativo. Va là, vecchia pedante
    12. 12Act 1. Scene 5. No. 6. Aria. Non so più cosa son
    13. 13Act 1. Scene 6 & 7. Recitativo. Ah, son perduto!
    14. 14Act 1. Scene 6 & 7. No. 7. Terzetto. Cosa sento! tosto andate
    15. 15Act 1. Scene 6 & 7. Recitativo. Basilio, in traccia tosto
    16. 16Act 1. Scene 8. No. 8. Coro. Giovani liete
    17. 17Act 1. Scene 8. Recitativo. Cos'è questa commedia?
    18. 18Act 1. Scene 8. No. 9. Coro. Giovani liete
    19. 19Act 1. Scene 8. Recitativo. Evviva!
    20. 20Act 1. Scene 8. No. 10. Aria. Non più andrai
    21. 21Act 2. Scene 1. No. 11. Cavatina. Porgi, amor
    22. 22Act 2. Scene 1. Recitativo. Vieni, cara Susanna
    23. 23Act 2. Scene 2. Recitativo. Queanto duomi, Susanna
    24. 24Act 2. Scene 2. No. 12. Arietta. Voi che sapete
    25. 25Act 2. Scene 2. Recitativo. Bravo! che bella voce!
    26. 26Act 2. Scene 2. No. 13. Aria. Venite inginocchiatevi...
    27. 27Act 2. Scene 2. Recitativo. Quante buffonerie!
    28. 28Act 2. Scene 3. Recitativo. Che novità! Non fu mai
    29. 29Act 2. Scene 3. No. 14. Terzetto. Susanna, o via, sortite
    30. 30Act 2. Scene 3. Recitativo. Dunque, voi non aprite?
    31. 31Act 2. Scene 4. No. 15. Duettino. Aprite, presto, aprite
    32. 32Act 2. Scene 4. Recitativo. Or guarda il demonietto!
    33. 33Act 2. Scene 5-8. Recitativo. Tutto è come io lasciai
    34. 34Act 2. Scene 5-8. No. 16. Finale. Esci, ormai, garzon malnato
    35. 35Act 2. Scene 9. Signori, di fuori
    36. 36Act 2. Scene 10 & 11. Ah, signor... signor
    37. 37Act 2. Scene 10 & 11. Voi signor, che giusto siete
    38. 38Act 3. Scene 1-3. Recitativo. Che imbarazzo è mai questo!
    39. 39Act 3. Scene 1-3. No. 17. Duettino. Crudel! Perché finora
    40. 40Act 3. Scene 1-3. Recitativo. E perché fosti meco
    41. 41Act 3. Scene 4. No. 18. Recitativo e Aria. Hai già vinta la causa!
    42. 42Act 3. Scene 5. Recitativo. È decisa la lite
    43. 43Act 3. Scene 5. No. 19. Sestetto. Riconosci in questo amplesso
    44. 44Act 3. Scene 6 & 7. Recitativo. Eccovi, o caro amico
    45. 45Act 3. Scene 8. No. 20. Recitativo e Aria. E Susanna non vien!
    46. 46Act 3. Scene 9 & 10. Recitativo. Io vi dico, signor
    47. 47Act 3. Scene 9 & 10. No. 21. Duettino. Su l'aria...
    48. 48Act 3. Scene 11-14. No. 22. Coro. Ricevete, o padroncina
    49. 49Act 3. Scene 11-14. Recitativo. Queste sono, Madama
    50. 50Act 3. Scene 11-14. No. 23. Finale. Ecco la marcia
    51. 51Act 4. Scene 1. No. 24. Cavatina. L'ho perduta... me meschina!
    52. 52Act 4. Scene 2-4. Recitativo. Barbarina, cos' hai
    53. 53Act 4. Scene 2-4. No. 25. Aria. Il capro e la capretta
    54. 54Act 4. Scene 5-7. Recitativo. Nel padiglione a manca
    55. 55Act 4. Scene 5-7. No. 26. Aria. In quegl'anni in cui val poco
    56. 56Act 4. Scene 8. No. 27. Recitativo e Aria. Tutto è disposto
    57. 57Act 4. Scene 9 & 10. Recitativo. Signora, ella mi disse
    58. 58Act 4. Scene 9 & 10. No. 28. Recitativo e Aria. Giunse alfin il momento
    59. 59Act 4. Scene 11-14. Recitativo. Perfida! E in quella forma
    60. 60Act 4. Scene 11-14. No. 29. Finale. Pian pianin le andrò
    61. 61Act 4. Scene 11-14. Non la trovo
    62. 62Act 4. Scena ultima. Gente, gente
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Album Credits

Performance Credits
René Jacobs Primary Artist
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Customer Reviews

Average Rating 5
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A very well done "Figaro"

    In a world that has a plethora of good "Figaro" recordings, it is nice to have one that rises to the top at the level of the Solti recording. Jacobs and his cast do a wonderful job of capturing the humor in da Ponte's words, and the playfulness in Mozart's music. While the entire cast bring the immediacy and sparkle of a staged production, Keenlyside's smooth baritone shines through as the voice to listen to. His mellow tones and charismatic presence bring a very seductive nobility to the role. This Figaro deserves a place on anyone's shelf. The sound quality is excellent, the conducting crisp and vibrant, and the singing...well, not only does everyone have a marvelous voice, but the were also encouraged to ACT while they were singing! A rare thing in opera! Deffinitely a must own!

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  • Anonymous

    Posted May 12, 2009

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