Le nozze di Figaro

Le Nozze Di Figaro is one of my all-time favourites and I was actually recommended this 1981 performance. And I thought it was surprisingly very good, I say surprisingly because the reviews on Amazon are quite mixed.

My only real criticisms are some of the tempos, fast tempos can be exciting in Mozart, but some of the speeds are not just fast, they're break-neck speed and could have been slowed down a little. The end of act 3 should be very stately, but that among others felt rushed through.

The orchestra have several nice moments such as the very end of act 4, at first I wasn't sure about the forte piano instead of the harpsichord but it didn't spoil the performance at all. The strings occasionally are are a little scrawny and flat, particularly in Dove Sono.

Also, the sound is fine as is the camera work, but the picture quality is rather fuzzy.

On a production values point of view, this Figaro is really quite charming. I loved the colourful sets and the sumptuous costuming. It is a traditional yet very beautiful production. The music is wonderful, right from the recitatives, the overture, duets, trio, the big ensemble at the end of act 2 and of course the solos, as is the story which has a lot of wit and heart to it.

I also loved the performances. My favourites were Georgina Resick's playful and very sweet Susanna, Sylvia Lindenstrand's poignant and dignified Countess and Ann Christine Biel's subtle Cherubino. Though one mustn't dispute Per Arne-Wahlgren's stern Count and Mikhael Samuelson's hearty Figaro. Bartolo and Marcellina are also played to perfection, Basilio is just adequate.

All in all, surprisingly very good if imperfect. 7/10 Bethany Cox

Though I've never seen a perfect production of this, my favorite opera, (or any other opera for that matter; maybe this one tends to rush a bit in spots.) this is as good as it gets as far as I'm concerned.

The Drottningholm Palace Theater in Stockholm, Sweden features performances where even conductor and orchestra are in costume (The female orchestral players seem to be in male costumes.) and the instruments are of the period.

Unlike Bergman's Magic Flute (done on a replica of this theater) which is sung in Swedish, this is performed in Da Ponte's original Italian and is all the better for it.

It should be pointed out that this production is from 1981 so the cast, is quite young here. Per-Arne Wahlgren who plays the Count is a standout for several reasons: he is exceptionally tall and, despite his youth, carries off both the acting and vocal honors. He has probably done the part even better as he matured.

Sylvia Lindenstrand who plays the Countess is also exceptional vocally and in her acting with her almost alto-like soprano and she is such a handsome woman that I almost wonder why the Count would have strayed. Georgine Resick as Susanna, Mikael Samuelson as Figaro and Ann Christine Biel as Cherubino are also very good and Karin Mang-Habashi is also exceptionally fine in the part of Marcellina.

The direction of Thomas Olofsson is also excellent as is the conducting of Arnold Östman.

There is one controversial feature of this recording though: the use of the fortepiano instead of harpsichord in the secco recitatives. It sounds peculiar here but it must be said that later in life Mozart preferred that instrument to the usual harpsichord. So it is impossible to address this question without more information. Suffice it to say that the use of the piano might be more authentic and it may be a matter of getting used to the sound.

added 12/18/07: A biography of Mozart I've seen recently states that, at this time, Mozart was frequently moving his own fortepiano around for opera productions so apparently its use here is authentic!

Outside of the menus there are no extras and the picture is not as clear as it might be. But, one could do worse that to own this DVD; try to see it first to check if it meets with your approval.