Mozart - Le Nozze di Figaro / Bohm, Berry, Grist, Mathis, Wixell, Watson, Kelemen, Bence, Salzburg Festpiele

Rating:
Summary: Le Nozze di Figaro
Review: Contrary to Mr Cotton's review of this DVD, I wonder how anyone could NOT notice this this production is in black and white...Perhaps those who are color blind? Note well: this recording is in mono not stero...again a noticeable difference. Although performances are fine I reget purchasing this for my collection. However, if you are deaf and color-blind I urge you to purchase this recording.

Rating:
Summary: Black and white, but is this a problem ???
Review: No, it isn't a problem, 'cause we have one of the best renditions of "Le Nozze di Figaro". Here, the conductor is Karl Böhm, a master in Mozart's music (although a little sleepy in his last years, not the case here), and the main singers are marvellous too: Berry is a clever Figaro, great on stage and with a strong voice; Wixell as The Count contrasts perfectly with his servant, singing with a noble timbre. Grist was one of Böhm's most frequent choices, and sings an idiomatic Susanna . Claire Watson wasn't the best Contessa at that time, but looks like a member of "noblesse" and overall is satisfactory.

Comprimarii singers are good, as the chorus. And the orchestra is Wiener Philharmoniker, no more words about this.

This is a Salzburg Festival's production, taped at 1966. Good image in B&W, nice sound. For a modern production, look at Gardiner's, but this is indispensable.






Rating:
Summary: Old-fashioned, B&W, but enchanting production
Review: This film, taken from a live 1966 Salzburg Festival performance, has a few disdvantages compared with modern films of Nozze di Figaro. For one, it is in B&W, and Act 4 is tightened with the usual cuts of Marcellina and Bartolo's arias. Also, this performance follows mid-20th century German practice by omitting appogiaturas (they were considered "inauthentic") and decorations on the repeats of arias (such as "Voi che sapete"). In other words, very un-historically informed.
Otherwise, it's as enchanting of a film of this wonderful opera as your are likely to get. The wit and humanity of Mozart's opera still astounds us after all these years. I always like Mozart's portrayal of women -- they are allowed to have a sex drive and play practical jokes! The production is "traditional" although sharp eyes will detect that in Act 2 when the Contessa and Susanna are disguising Cherubino as a girl they give him a very round, Gone-With-the-Wind-like hoopskirt, which were not around in the 1700s!
The cast is ensemble playing and starry at the same time. If I had to single out one performance for praise, it'd be Reri Grist. This pretty, petite African American soprano never achieved the fame of Leontyne Price or Kathleen Battle, but it certainly wasn't because of lack of talent. Grist's Susanna is fun, charming, witty, intelligent, and sings a meltingly beautiful "Deh vieni non tardar." She's also a good colleague too -- she blends her voice beautifully in "Sull'aria."
Walter Berry is also a vigorous, funny Figaro. A particularly treasurable moment is when he "psyches up" Cherubino for military service in "Non piu andrai." This production, unlike many modern productions, does not really focus on the blatant sexual attraction of Figaro and Susanna. I happen to think this is right -- Susanna and Figaro are professionals, and not horny teenagers.
Claire Watson and Ingvar Wixell are the Contessa and Count. Watson moves graciously and is a witty unusually upbeat Contessa. Her tone, however, lacks the silvery beauty that the best Contessas have (della Casa, te Kanawa). Watson's "Dove sono" has some unexpectedly wavery, suspect moments near the end. Wixell is a very fine, blustery Count. The "upstairs" couple are excellent, but overall, not quite as memorable as the "downstairs" couple of Berry and Grist.
Edith Mathis is the *one* slight disappointment. There's nothing actually wrong with her performance, but she lacks the last bit of radiant, innocent randiness that, say, Frederica von Stade brings to this role (see the wonderful Glyndebourne film from 1973). It's a testament to the thoroughness of the casting in Salzburg that two of the finest performances are from Bartolo (Zoltan Kelemen), and Marcellina (Margarethe Bence).
Overall, for Mozart/opera lovers, this is a no-brainer. Despite the caveats, it remains extremely charming and lovable. As an aside, I saw a cast of Nozze di Figaro last year at the Metropolitan, with a stellar cast that included Anja Harteros and Dorothea Roschmann. Despite the wonderful cast, however, I thought overall the production lacked the warmth that was so abundant in this B&W film.

Rating:
Summary: Genius, Even in Black and White
Review: Yes, you read the title correctly: this DVD is not in color; however, this is such an amazing production that you can barely notice the fact that it is in black and white after the first few minutes. Swedish baritone Ingvar Wixell is Count Almaviva, and it is unbelievable how his voice sounded in his younger days. He enunciates so clearly that you could hear exactly what he is saying throughout the entire production so well that you could write out the words he sings just from hearing him. his voice is also marvelous and will enchant you until he is all that you can think about. Walter Berry is Figaro, and will make sure that there is a smile on your face throughout the entire production; he is very funny, a good actor, and has a beautiful bass voice suited wonderfully for his part. American soprano Reri Grist is a very sweet and dainty Susanna and almost could make you cry after hearing how beautifuly she sings the rondò, "Deh, vieni, non tardar" in the fourth act. Many buyers might consider it a disadvantage that this DVD is not in color, but anyone who enjoys a good opera regardless of the recording would love it. Even without the color, the sound quality is wonderful. The staging is also very clever and appealing. This was filmed at the Vienna State Opera in 1966 under the baton of Karl Böhm.