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About Karl Böhm

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Work Title Le nozze di Figaro Alt ernative. Burgtheater First Pub lication. Simrock, Plate 28 vocal score - Paris: Retrieved from " http: Pieces based on 'Le nozze di Figaro'. Contents 1 Performances 1. Voi che sapete Act II 2. Hilde Gueden Il Conte Almaviva: Alfred Poell La Contessa: Lisa della Casa Cherubino: Giovani liete, fiori spargete E voi non applaudite? Porgi, amor, qualche ristoro al mio duolo 2. Vieni, cara Susanna 3. Quanto duolmi, Susanna 4. Susanna, or via, sortite Dunque, voi non aprite? Aprite, presto, aprite O guarda il demonietto! Esci, omai, garzon malnato Susanna, son morta Conoscete, signore Figaro Vostre dunque saran queste carte Voi signor, che giusto siete Act 3 1.

Riconosci in quest'amplesso 8. Eccovi, o caro amico 9. Andiamo, andiam, bel paggio E Susanna non vien! Write a customer review. Read reviews that mention recording opera performance heard cast count hear countess giulini role susanna casa della recordings caballe singers roles singing sing sounds. There was a problem filtering reviews right now.

Le nozze di Figaro (The Marriage of Figaro), K.492 (opera buffa)

Please try again later. Audio CD Verified Purchase. I have always held this recording up with the best of the Figaro's. The cast is superb, in fact the best that time period could muster. Leinsdorf conducts in bright tempos. The only cut I noticed was the re-arrangement of part of Marcellina's aria - it is really hard. Osborn in High Fidelity had the perfect take on this recording.

Look at the beauty of the ladies: Wonderful Only Solti's recording rivals this one in my book. One person found this helpful 2 people found this helpful. A remarkable recording of the Marriage of Figaro.

The cast basically singers from Metropolitan Opera productions under the direction of an inspired Erich Leinsdorf recorded a Figaro for the ages.. There is not one weak link in the cast. Tozzi and London are excellent as the Figaro and the Count as good as any on records--The three female leads are impeccable.

Peters, Elias, and Della Casa preserve on records their musical interpretations of Susanna, Cherubino and the Countess. I have several performances of this opera --This version is one of my all time favorites. I have to agree with nearly everything the first reviewer, Albert Innaurato, said. This is a fun performance, the cast is mostly idiomatic and practiced, and the sound is not very good. But I do not agree with his assessment of Caballe's performance. I think she sings extremely well and is usually clearly audible. More importantly, this performance reminds me of a comment by Maria Callas declaring that Mozart was "a master of bel canto" and that his works should be sung with a full tone and a sustained line.

Caballe provides this in spades. I know some will disagree with this, but I enjoy hearing the great Mozart roles sung by a real spinto like Caballe, Price Leontyne and Margaret , Rethberg, and even Tebaldi, as opposed to the purely lyrical approach of Schwartzkopf, TeKanawa, or Popp.

‎Mozart: Le nozze di Figaro by Karl Böhm & Orchester der Deutschen Oper Berlin on Apple Music

I don't hear Caballe distorting the vowels, although I know she does drop a consonant or 2; it is a bad habit of hers. She also does marvelous things with dynamics, making "dove sono?

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I really don't think that this recording is all that valuable apart from Caballe's contribution. Here is a great diva and a great singer performing a role written by one her favorite composers, one which she never recorded commerically and rarely had the chance to sing once she was indentified and promoted as a "bel canto" soprano. If you are a CAballe fan, and I am, I say give it a try. You will be pleased.

Mozart Le Nozze di Figaro Act 4 Finale Part 1

I'd be thrilled to encounter most of these people today. Sciutti and Bruscantini were also rans I guess according to the other reviewer, except they were world famous for these roles and sang them everywhere.

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I think they are terrific here, both voices bounce out into the house very well, and they sound better than when the mic is too close as on commercial recordings. Bruscantini at the time as the Countess, and the conductor is Gui. That's been around very cheap and of course is better sounding than this. In this recording I also like Casoni as Cherubino, a ripe Italian mezzo, when one also takes Cossotto into account she recorded it with Giulini and that excellent recording is also available cheap one has the feeling this kind of sexy sound is what Mozart had in mind. Rescigno is a lively conductor and the performance is fun, the audience thinks so, they laugh a lot in the days before surtitles.

Ugo Trama, the count goes over well, though he sings his role roughly. The sound is distant and treble heavy; Sciutti, Casoni and Bruscantini come through loud and clear but in the more elaborate ensembles the sound is a jumble. The other reviewer is a Caballe fan and obviously never heard her at this stage in her career, I did often. This is a pretty fair representation -- her voice was not large and it's not the recording, for you can hear Sciutti very well, and she had a small voice and she could fake her way through difficult music.

She sometimes recedes here, and yes for all the distant sound it's clear she's dropping consonants and changing vowels.