Figaro

Le nozze di Figaro is one of the most successful comic operas ever. Director David Bösch is a born storyteller. He likes to focus on the classics, and is known for his poetic approach. In this new production of Le nozze di Figaro, the hectic, bubbly story of Figaro’s eventful wedding party is visually interpreted in a revolving stage set.

Le nozze di Figaro is one of the most successful comic operas ever. Director David Bösch is a born storyteller. He likes to focus on the classics, and is known for his poetic approach. In this new production of Le nozze di Figaro, the hectic, bubbly story of Figaro’s eventful wedding party is visually interpreted in a revolving stage set.

As the Countess, Rachelle Durkin mixed statuesque hauteur with girlish puppy love…refined phrasing and beautifully poised tonal control' (The Sydney Morning Herald) This perky, impressive Figaro from the Australian Opera has much to recommend it. It has an interesting, skewed period look: Designer Dale Ferguson's heavy draperies, formal leggings for the gents, and cleavage-sprouting dresses for the women are suitably 18th century, while there's a 1950s vacuum cleaner, an iron with an electrical wire attached to it, and a faux-leather armchair to throw off expectations. –Robert Levine, ClassicsToday.com

This is the fourth instalment in Deutsche Grammophon’s new Mozart cycle. In the end this will encompass the seven great operas, from Idomeneo forwards. I haven’t heard the previous three, but from the reviews I have seen the reception has been rather mixed. Concerning this latest issue I am also in two minds. The problem, as I see it, is that Nézet-Séguin hasn’t quite decided what he is up to. He has the excellent Chamber Orchestra of Europe at his disposal.

Michele Carafa was a friend of Rossini’s and worked with the composer on several occasions. I Due Figaro is a sequel to The Marriage of Figaro. Fifteen years on, the now adult Cherubino returns to the palace in disguise as Figaro II to be near the Count’s daughter. And Cherubino/Figaro II will triumph over adversity and send the original Figaro packing.

Le nozze di Figaro has been Glyndebourne’s signature opera since the company was founded in 1934 and Glyndebourne is responsible for bringing Mozart back into the currency of English musical life. An obvious choice with which to launch Glyndebourne’s own label in 2008. This 1962 recording features a vintage cast with Heinz Blankenburg in the title role, Mirella Freni as Susanna, who had made her international breakthrough at Glyndebourne in the summer of 1961.

This production created for the opening of the Salzburg Festival in 1966, which remained on the programme for five years, was Karl Böhm's last Salzburg Figaro. After multiple tries to stage Figaro at the Salzburg Festival in the 1950's and 60's, the successful team Karl Böhm/Günther Rennert mounted this production with new décor, costumes by Rudolf Heinrich and with a practically new, young cast of singers. It was not only the celebrated highlight of the festival summer 1966 but also became a "standard for Mozart" " that at least was the headline the German critic and future director of the Stuttgart Opera, Wolfram Schwinger, gave his report in the "Stuttgarter Zeitung" of 27 July 1966.

Le Nozze di Figaro, Mozart's timeless opera buffa, is one of the greatest of all operatic masterpieces. It is based on Beaumarchai's comedy Le Marriage de Figaro and tells the tale of the servant Figaro, who is about to marry the maid Susanna. Count Almaviva, keeping an eye on Susanna himself, tries to prevent this marriage with the help of Bortolo, the doctor, but is continually thwarted.