Product description

Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti

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Average customer rating: 4.5

Binding : Audio CD
EAN : 0028941015020
Label : Decca
Manufacturer : Decca
Publisher : Decca
Release date : 1984-03-12
Title : Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti
Format : Box set
Studio : Decca
MPN : 410150
Number of discs : 3

Editorial reviews

Amazon.com essential recording
A strong cast--with Lucia Popp a radiant Susanna and Frederica Von Stade deliciously precocious as Cherubino--makes this Figaro a delight from start to finish. Georg Solti presides masterfully, uncorking a propulsive reading with all the fizz of vintage champagne. --Ted Libbey

Customer reviews

review by: date: 2008-06-01 rating:

Fabulous
This is just the third opera I've owned and I LOVE it. Seriously, it is beautiful. I listen to it at the YMCA while walking on the treadmill - and the time flies by. I even manage to follow the libretto during slower moments. Even if you're a newbie like me, buy this opera.

review by: recoba date: 2007-09-05 rating:

Excellent stuff!!
The best of "Le Nozze di Figaro"
Great Sir Solti's performance and its harmony and scale.
Compared to Karajan, Boehm, etc...
I thumb up Solti.

review by: Al date: 2007-06-28 rating:

A Cast Consists Full of Stars
I really love this opera, I mean the "Figaro." I never get tire of it. The music just flows endlessly, nonstop, no break. The voices and the orchestra are in complete harmony. It is like a symphony played with human voices. It can be performed in a big house having a cast lead by big named singers or in a provincial theatre by an ensemble. It will never go wrong. I collected so many recordings of it, in LP, ADD, DDD, or DVD, more than one or two versions in each format. Listen to all these records again and again, plus attending live performance in opera houses, and watching broadcast programs on television, I am on the verge of being overloaded. Some might say that I should be pretty confused about this whole thing by now. Well, probably.
There are many Figaro recordings consist all stars in the casting (of the five principal roles). Some even filled the sixth major role (Dr. Bartoro) with someone also a star. For this recording, when I put "Full of Stars" in the title of this review, I mean all the soloists (ten in all) were either big-star at the time of record making or on their way to become stars. That is really something. It is not always possible to assemble a big group of talent in one album. You don't find any other opera album has a cast like this one.
As far as a review goes, there are 41 of them ahead of this one. I agree with those positive comments they made on the conductor, and the singers. Whatever needed to be said has been said; it makes this one unnecessary. Inspired by the review of "Mr. Wellio," I just could not resist not to joining the discussion. But my assessment takes on a broader scope; it goes beyond just comparing two albums (the EMI/Giulini and the Decca/Solti).
Let it be clear that all of us have our own preference in everything. The case in point is about "Figaro," how should each character/role should sound like, among all the singers who would best suit to a certain role, etc. So, when we write a review to express our opinion, some bias is unavoidable.
Since this is a Mozart opera, naturally it should be performed in a Viennese tradition. There are two albums that are still available in the market that do just that. Both albums were done with celebrated conductors and singers of the Staatsoper Wien. All were the best of their time. Each was positioned to the role that suited his or her voice. The first album is the 1950 EMI recording, which was led by Herbert von Karajan (now digitally re-mastered, sell under the Regis label). The second one is the 1955 DECCA recording (digitally re-mastered in 1999), which was led by Erich Kleiber. The present disc, the DECCA/Solti version was made in 1981. It was a digital recording to begin with.
Now, what is my dream cast for Figaro? I would go for Giulinin for conductor. The singers names listed below are picked from all the artists that I know about their works, not necessary from any particular album. It is as if they exist in the same time frame, all in their prime.
Figaro: Giuseppe Taddei - If Cesare Siepi is the ultimate Don, I don't think any one can surpass Taddei for Figaro. He is the total Figaro, so alive, with an unlimited power. Just listen to the "Non piu andrai" in the EMI/Giulini disc, you know what I mean. I had the pleasure to watch him on stage (as Figaro). It was totally amazing.
Susanna: Lucia Popp - Susanna has to be a soubrette, or something similar. Schwarzkopf preferred Irmgard Seefried. I think Lucia Popp is the best. Besides, Popp has built her reputation on Sophie and Susanna. There is no mistake about that.
Countess: Carol Vaness (Alternate: Elisabeth Schwarzkopf) - The countess is not a soubrette, but needs to be sung by a reputable "Mozart singer."
Kiri was surely a wonderful Countess, so were Lisa della Casa and Fleming (she was a well thought-of Countess and has done the part so many times along the way to becoming the `Rene Flaming'). But if you really go for the voice, take Vaness. For perfection, it has to be Schwarzkopf.
Count: George London - Despite his fame, I always think he was too rigid, too rough. I never thought he would suit for Mozart. But the Regis/Karajan disc convinced me.
Cherubino: Frederica von Stade - This role was written for a soprano. Though not a soprano, her range, her clear tone, just makes her unique, fits the role perfectly.
A final note: All things considered, I consider this album (Decca/Solti) the best, in terms of singing, directing and sound. It should be aware that all the singers on this disc and many of those mentioned by the reviewers here and elsewhere were retired from the roles they sang, if not dead. The next generation of great or almost great Mozart singers has not yet arrived. It is interesting to note that one reviewer did mention Alison Hagley for Susanna. I think it is a very clever way to put it. How about Bryn Terfel? He is OK if he stops becoming too commercial. Angelika Kirchschlager? I never heard her sang Cherubino. Despite she received positive review on a recent Figaro recording; I still imagine that her voice might not be high enough for the role.

review by: a music fan date: 2006-03-07 rating:

unfriendly liner notes
I bought this version principally becaue of Kiri Te Kanawa'a countess. Its worth it for that alone.
I agree with another reviewer who found the grouping of tracks and synopsis a little less friendly ( especially for those of us who are new to the complete work and want to follow along with the libretto in hand)

review by: date: 2005-09-24 rating:

A kinder, gentler Solti, but chilly singing
British critics in genreal love this set, with its cool, unhumorous, respectful approach to Mozart. Dame Kiri sets the tone in her two arais as the Countess, both soporifically slow but sung with purity and gleaming tone. Nobody else really catches fire, either. If you want a Figaro that's warm and witty, go for Ostman or Giulini or Levine or Kleiber or....

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