Composer: Wolfgang Amadeus MOZART (1756 – 1791)
Work: Le nozze di Figaro – Opera in Four Acts
Performers:
Orchestra: Wiener Philharmoniker
Conductor: Herbert von Karajan
Recording Dates: 17-21 June and 23-27, 31 October 1950
Location: Musikvereinssaal, Wien
Release: Digitally Remastered at Abbey Road Studios, 1999
Label: EMI Classics CMS 5 67068 2
Duration: CD1: 62:50, CD2: 56:53
In this remarkable recording of Mozart’s Le nozze di Figaro, conducted by Herbert von Karajan, we are presented with an interpretation that is both symbolically and sonically rich, emblematic of a certain post-war Viennese ethos. The performance, steeped in historical context, emerges not merely as a document of its time but as an ongoing conversation about the opera’s inherent complexities and its dramatic nuances.
Karajan’s approach, as noted by Richard Osborne in the accompanying booklet, reveals a strikingly symphonic interpretation that prioritizes orchestral clarity and cohesion at the expense of the secco recitatives. While the absence of these recitatives may be seen as a concession that diminishes the narrative’s immediacy, it also allows for a heightened focus on the orchestral textures that characterize Mozart’s score. The conductor’s firm oversight ensures that the orchestra consistently underpins the vocal lines, at times veering towards a fortissimo that threatens to overshadow the singers. Yet, it is within this tightly controlled environment that the vocalists can truly shine, navigating the intricate interplay of character and emotion.
Elisabeth Schwarzkopf’s portrayal of the Countess is, without question, the pinnacle of this recording. Her rendition of “Porgi, amor” is imbued with a poignant wistfulness, each note expertly shaped to convey longing. The purity of her tone, coupled with an effortless breath control, elevates her performance to an almost ethereal plane. In contrast, George London’s Count is rendered with a blend of comedic ineptitude and tragic flaw; his portrayal reflects a man outwitted by those around him, encapsulated in the character’s often thwarted machinations.
Erich Kunz as Figaro presents a more subdued interpretation—one that oscillates between youthful exuberance and a palpable sense of fading vitality. His “Se vuol ballare,” while lacking the customary bravado, offers a glimpse into the character’s layered psychology, as he navigates the social intricacies of the Almaviva household. It is in the ensemble moments, particularly during the finale of Act III, that Kunz’s unique timbre emerges with clarity, contributing to a rich tapestry of sound that defines Mozart’s ensemble writing.
Irmgard Seefried as Susanna brings an intriguing complexity to the role. Initially, her voice seems hesitant, yet she quickly finds her footing, showcasing her agility and expressiveness in duets with both Figaro and the Countess. The contrast between her “air-kissing” approach to the notes and the more grounded deliveries of Schwarzkopf creates a compelling dialogue that enriches the narrative fabric of the opera.
Sena Jurinac’s portrayal of Cherubino is particularly noteworthy. Her youthful exuberance and vocal charm effectively channel the character’s impetuous nature, especially in “Voi, che sapete,” where she captures the essence of adolescent confusion and desire. The interplay with the female characters is delightful, lending a sense of authenticity to Cherubino’s character arc.
The engineering of this recording, remastered from the original 1950 sessions, presents a vivid soundscape. The clarity of the orchestral textures, coupled with the distinct vocal lines, creates an engaging auditory experience. However, occasional harshness in the string sections at forte dynamics suggests that the limitations of the recording technology of the time have not been entirely overcome.
In terms of historical significance, this recording stands as a testament to post-war Vienna’s operatic revival. Karajan’s leadership in this context not only reflects the musical values of that era but also sets the stage for future interpretations of Mozart’s operatic works. The decision to omit the secco recitatives, while contentious, invites consideration of the balance between musical integrity and dramatic coherence.
In conclusion, while this interpretation of Le nozze di Figaro may not present a complete picture of Mozart’s operatic genius, it undeniably offers a compelling and artistically rich exploration of the work. The performances, particularly those of Schwarzkopf and Jurinac, are indeed exceptional, and Karajan’s orchestral direction reveals the symphonic qualities inherent in the score. This recording, while not without its limitations, remains a significant contribution to the discography of Mozart’s operas and a reflection of a pivotal moment in the history of classical music.