BaL 2.04.22 - Mozart: The Marriage of Figaro

[Barbirollians]

Jacobs has now been BaL 1st choice for Figaro, Die Zauberflöte & Tito. Perhaps the reviewers were all working for Gramophone circa 2004? Like others, I prefer Östman, not least for Barbara Bonney’s Susanna.

He won the Bach Magnificat a few years back too - I bought that on the strength of it having won having not heard the BAL . I really disliked that as well and sent it back .

[MickyD]

Sorry forgot this site doesn't allow direct replies to a quote.

You can also stream the Ostman, but it's very difficult to listen to because of the crude early digital sound

Thanks...happily I have the Ostman on CD, along with his other Mozart operas. They suit me just fine.

[lsl131]

This BAL was bound to cause controversy. Unfortunately, it is impossible to do justice to the huge and varied field of recordings of this work in 45-50 minutes. In fairness to Nicholas Kenyon, he did clearly set out his criteria for judging recordings. Things seem to have come around full circle. I think that one can find his desired qualities of lightness of touch and flexibility in live historical recordings conducted by the likes of Walter, Busch and Rosbaud, allied with often great (or better) singing, if one is prepared to put up with the variable ancient sound. Allowing for the relative lack of decorated vocal lines, these old recordings align more with the modern HIP performances than with the earlier post-war group of recordings. And these old conductors were 'wiser' in the ways of how to conduct in an opera house, so their performances have, at least to my ears, a greater sense of theatre about them. Points are made but not belaboured, and tempi seem better integrated across the span of each act.

[pastoralguy]

Even the ‘worst’ recording of Figaro is still marvellous. If I had to choose one work to take to the Desert Island it would be MoF.

[Ein Heldenleben]

This BAL was bound to cause controversy. Unfortunately, it is impossible to do justice to the huge and varied field of recordings of this work in 45-50 minutes. In fairness to Nicholas Kenyon, he did clearly set out his criteria for judging recordings. Things seem to have come around full circle. I think that one can find his desired qualities of lightness of touch and flexibility in live historical recordings conducted by the likes of Walter, Busch and Rosbaud, allied with often great (or better) singing, if one is prepared to put up with the variable ancient sound. Allowing for the relative lack of decorated vocal lines, these old recordings align more with the modern HIP performances than with the earlier post-war group of recordings. And these old conductors were 'wiser' in the ways of how to conduct in an opera house, so their performances have, at least to my ears, a greater sense of theatre about them. Points are made but not belaboured, and tempi seem better integrated across the span of each act.

Very good points. That Busch overture absolutely fizzled like vintage champagne - what a contrast with Jacobs flattish cider….

[Ein Heldenleben]

Even the ‘worst’ recording of Figaro is still marvellous. If I had to choose one work to take to the Desert Island it would be MoF.

Yes it’s also pretty much performer proof in the theatre. Every number a hit , every bar shot through with genius . IMV the greatest opera of them all ( with the exception of Götterdamerung)

[richardfinegold]

Isn't it in German ? I think I might struggle with that rather more than Parsifal in Italian.

I just ran across a recording of Brahms "German Requiem" led by Walter--in Italian

[Eine Alpensinfonie]

Jacobs has now been BaL 1st choice for Figaro, Die Zauberflöte & Tito. Perhaps the reviewers were all working for Gramophone circa 2004? Like others, I prefer Östman, not least for Barbara Bonney’s Susanna.

Well - er yes. I would have put money on today's verdict. In the case of Die Zauberflöte, it was more or less a dead heat between Solti and Jacobs - both very good in different ways, but with the palm going to Jacobs for the most superficial, trivial and ultimately unsupportable reason.

[richardfinegold]

Yes it’s also pretty much performer proof in the theatre. Every number a hit , every bar shot through with genius . IMV the greatest opera of them all ( with the exception of Götterdamerung)

I don't listen to much Opera, and am embarrassed to admit that most of my Opera recordings are of the "Greatest Hits" variety, but Figaro is one that I do own in it's entirety, and that I've seen twice. If any Opera is a "Gateway" work, I would have thought it would be the one, although my wife, who otherwise shares my musical tastes, has been resistant to it's charms. Personally I prefer Don Giovani, not necessarily on musical grounds but because it's darker view of life, and the emptiness of the central character, seems more suited to our modern times.

[Ein Heldenleben]

I don't listen to much Opera, and am embarrassed to admit that most of my Opera recordings are of the "Greatest Hits" variety, but Figaro is one that I do own in it's entirety, and that I've seen twice. If any Opera is a "Gateway" work, I would have thought it would be the one, although my wife, who otherwise shares my musical tastes, has been resistant to it's charms. Personally I prefer Don Giovani, not necessarily on musical grounds but because it's darker view of life, and the emptiness of the central character, seems more suited to our modern times.

I think it’s a lot easier to engage with now that we have surtitles.People get the jokes these days . Da Ponte wasn’t mentioned much today but his libretto is a masterpiece as well. The greatest of all libretti ( with La Boheme a close second? )

[Barbirollians]

Well - er yes. I would have put money on today's verdict. In the case of Die Zauberflöte, it was more or less a dead heat between Solti and Jacobs - both very good in different ways, but with the palm going to Jacobs for the most superficial, trivial and ultimately unsupportable reason.

It raises my BP to think of that farrago of a BAL.

[ardcarp]

I just ran across a recording of Brahms "German Requiem" led by Walter--in Italian

I'm singing in The Brahms Req tomorrow, 2 piano version, in Emglish...BUT not the English version everyone knows. The latest Novello edition has a new translation with a word-underlay designed to trap the unwary. (Why? It's not even modernised English.)

https://www.musicroom.com/johannes-brahms-a-german-requiem-arr-soprano-baritone-voice-satb-piano-accompaniment-musnov072492?glid=gb&CAWELAID=120075890000072855&CATARGETID=120075890000893432&CADevice=c&gclid=Cj0KCQjw6J-SBhCrARIsAH0yMZj5NELXK5T7URZu1Uy_yY5XvxkYEA1kaWlKFfnBINxUWA2E0BFKrOsaAtTbEALw_wcB

Back to Mozart...

it is impossible to do justice to the huge and varied field of recordings of this work in 45-50 minutes.

...and no time to compare versions of the same passage.

If ever an opera needs to be live this is the one.

I couldn't agree more. Having seen 'opera house' productions, the one I think I enjoyed most was an amateur one which was produced entirely by students who stayed behind after their exams/finals were over...and they did it start to finish in a fortnight. Very humorous, and they brought out the 'social class' element of the Beaumarchais original which was hugely controversial in the day. No mention of the 'politics' in today's programme?

[gurnemanz]

I acquired the Jacobs coincidentally a while ago via the excellent Harmonia Mundi Lumières box, finding it a worthwhile complement to my existing recordings from Böhm, Gui and Giulini. Certainly there are irritations but also plenty to enjoy, such that I am surprised both at its being chosen as top choice and at the strength of anti-Jacobs vehemence on here. Reviews were generally favourable - including from our BaL host https://www.bbc.co.uk/music/reviews/85gb/

I was also slightly surprised at Mr Kenyon's mispronunciation of Porgi, amor, making it sound more like something by George Gershwin.

[Bryn]

I acquired the Jacobs coincidentally a while ago via the excellent Harmonia Mundi Lumières box, finding it a worthwhile complement to my existing recordings from Böhm, Gui and Giulini. Certainly there are irritations but also plenty to enjoy, such that I am surprised both at its being chosen as top choice and at the strength of anti-Jacobs vehemence on here. Reviews were generally favourable - including from our BaL host https://www.bbc.co.uk/music/reviews/85gb/ . . .

Thanks for the reminder. I had forgotten that it was in that box, which I have. I tend to have more time for the Ostman and JEG recodings.

Oh dear, I am losing track. I also have it in the Jacobs Da Ponte Trilogy box which I snapped up for £13.70 in November 2018 but had not got round to listening to. Now spinning Act I and rather enjoying it. Can anyone offer information about the Stolberger Saal in Cologne, its recording venue? The Internet appears to be scant on details regarding the hall.

[Lordgeous]

Interesting BAL but as remarked above, impossible to cover such a long piece with so many versions available. Anyway, glad I didn't hear anything that would prompt me to purchase another recording. Kleiber still does it for me. Yes, I think greatest opera ever written (though I have soft spots for Grimes & Boheme, oh and virtually ALL Mozart's operas!).