Details

Field of Interest

Classical Music

Composer

Wolfgang Amadeus Mozart, 1756-1791

Conductor

Daniel Barenboim, 1942-

Content Type

Music recording

Duration

3 hours 33 mins

Recording Engineer

Neville Boyling

Ensemble

English Chamber Orchestra

Format

Audio

Sub Genre

Opera

Label

Warner Music

Performer

Judith Blegen, 1943-, Sir Geraint Llewellyn Evans, 1922-1992

UPC (Physical)

_Digital_Only

Producer

Suvi Raj Grubb

Date Recorded

1976-08-01

Release Date

2005-11-28

Review

This 1955 EMI recording of Le nozze di Figaro from the Glyndebourne Festival is deservedly a legendary account of the opera. Vittorio Gui's reading of the score is essentially conventional, in the best sense -- he avoids imposing interpretive eccentricities, and he allows the music and the drama to unfold naturally, while remaining constantly alert to the nuances of the score's details. He's working with a superb group of expert Mozart comedians, and he gives them the freedom and flexibility to shine both as individuals and in their ensembles. He's especially sensitive to the recitatives as vehicles to sharpen the individuality of the characters and advance the opera's humor. The sense of camaraderie among the singers, most of whom had performed the opera at the festival, is evident in the naturalness and spontaneity of the repartee. Sesto Bruscantini brings a laid-back confidence to {%Figaro} that pleasantly contrasts with the more manic interpretations that tend to characterize many performances; he is certainly not lacking in passion, but even "Se vuol ballare" has a relaxed assurance that he no doubt will be able to easily give the {%Count} the comeuppance he deserves. Graziella Sciutti is an innocent but wise {%Susanna}, and she radiantly sings. Risë Stevens sounds a little mature for {%Cherubino}, missing the youthful vocal sheen that would be ideal for the role, but her characterization is vividly drawn. As the {%Countess}, Sena Jurinac is piercingly sad in her moments of solitary reflection, and her vocal production is warm, rich, and subtly modulated. Franco Calabrese, the least well known of the principals, has a marvelously dark bass-baritone that gives the {%Count} undeniable menace. The smaller roles are all splendidly taken; Monica Sinclair as {%Marcellina} and Hugues Cuénod as {%Don Basilio} are particularly effective and expressive. The Glyndebourne Orchestra and Chorus perform with graceful ease. The sound of the early stereo recording is surprisingly clean and vibrant. This admirable version deserves the attention of any fans of the opera. ~ Stephen Eddins, All Music Guide

Subject

Classical Music, Music & Performing Arts, Classical, Clásica, Clássica, Classical

Keywords and Translated Subjects

Clásica, Clássica