Opera has always been a big part of my life, and one of my favourites has always been Le Nozze Di Figaro, always finding it funny, charming, sparkling and three-dimensional with wonderful music and one of the most touching denouncements you'll ever find in all of opera. This 1966 Salzburg performance is just wonderful, and is of now one of my favourite Figaros along with the 1975 Ponnelle film, the 1973, 1993, 1994 and 1998 performances. Also, there were two(that I know of) performances of the opera on DVD from Salzburg three years apart. This one is the better of the two, stronger visually and with more consistent singing(1963's was good on the whole if having a Susanna that tended to peck too much at notes and a Count that was too overly-refined).
Visually, it is a very traditional production with beautiful costumes and sets that are just as much. The fact that it is in black and white doesn't hinder it whatsoever, it all looks very crisp and is photographed well. The staging was really impressive, it is the warmth and the wit of the opera personified, especially Fugaro psyching up Cherubino in Non Piu Andrai, complete with a touching assumption of the denouncement and the confrontation in Act 2 between the Count and Countess having the right intensity. In short it simply flies by, while Figaro and Susanna's chemistry is very convincing while not as "sexually attracted" as some. Countess and Susanna dressing Figaro in the hoop-skirt may be anachronistic to some, but I was too swept away in the quality of the production to be worried about it. It was only until I looked up "hoop-skirt" when that thought occurred to me.
From a musical point of view, there isn't anything to criticise in my view. The orchestral playing prove to be both very energetic and nuanced, while also being sensitive accompanists for the recitatives. While in his late prime, Karl Bohm conducts with less of a plodding and heavy handed approach that sometimes did elude his Mozart conducting later on, here the crucial parts of the score are conducted with verve and Dovo Sono, Porgi Amor and Deh Vieni Non Tardar didn't feel as though they were dragging too much.
The singing is superb. Claire Watson is a moving and refreshingly witty Countess, as well as being gracious in movement. Her singing may lack the beautiful silvery tones of Janowitz, Della Casa and Te Kanawa, but apart from some unsteadiness in Dovo Sono she does sing very musically. Ingvar Wixell's Count is really excellent. His voice has less of the dry, grainy tone that he had in the 80s, here with a much more noble sound, but there is thankfully still much of the spontaneity that made his performances so exciting. His acting is just as good as ever, arrogant and menacing without resorting to being too much of a buffoon.
Walter Berry is terrific as Figaro, like Prey and Finley, he exudes hearty energy and charisma and sings with the usual strong timbre that enabled him to sing Figaro, Papagaeno, Leporello and Don Magnifico as well as heavier roles like Kurwenal, Don Pizarro, Baron Ochs and Telramund. Reri Grist was one of those sopranos that deserved more recognition, and her Susanna is a perfect showcase as to why. This Susanna is exceedingly charming, intelligent and full of fun. What was great about her singing was that it was characterful without resorting to mannerisms like pecking or scooping, she blends well in ensembles(especially so in Sull'Aria) and her rendition of Deh Vieni Non Tardar is very touching.
Edith Mathis may lack the spontaneous boyish charm and innocence of Von Stade for example, but nonetheless makes for a impetuous and impassioned Cherubino. The sweetness and purity of her singing is still evident and always has been, whether as Zerlina, Pamina, Susanna or Annchen. Salzburg at this time had been known for thorough casting, and you can see that clearly in Zolten Keleman's characterful and very vocally focused Bartolo and Margherethe Bence's witty Marcellina(just love how precise her gestures, both in her hands and face, are). David Thaw is good as Basilio if not as hilarious or as ironic as Zednik.
As for the sound, while I would have liked it to have been of sharper quality it is hardly distorted either. Overall, a wonderful Figaro. 10/10 Bethany Cox
Visually, it is a very traditional production with beautiful costumes and sets that are just as much. The fact that it is in black and white doesn't hinder it whatsoever, it all looks very crisp and is photographed well. The staging was really impressive, it is the warmth and the wit of the opera personified, especially Fugaro psyching up Cherubino in Non Piu Andrai, complete with a touching assumption of the denouncement and the confrontation in Act 2 between the Count and Countess having the right intensity. In short it simply flies by, while Figaro and Susanna's chemistry is very convincing while not as "sexually attracted" as some. Countess and Susanna dressing Figaro in the hoop-skirt may be anachronistic to some, but I was too swept away in the quality of the production to be worried about it. It was only until I looked up "hoop-skirt" when that thought occurred to me.
From a musical point of view, there isn't anything to criticise in my view. The orchestral playing prove to be both very energetic and nuanced, while also being sensitive accompanists for the recitatives. While in his late prime, Karl Bohm conducts with less of a plodding and heavy handed approach that sometimes did elude his Mozart conducting later on, here the crucial parts of the score are conducted with verve and Dovo Sono, Porgi Amor and Deh Vieni Non Tardar didn't feel as though they were dragging too much.
The singing is superb. Claire Watson is a moving and refreshingly witty Countess, as well as being gracious in movement. Her singing may lack the beautiful silvery tones of Janowitz, Della Casa and Te Kanawa, but apart from some unsteadiness in Dovo Sono she does sing very musically. Ingvar Wixell's Count is really excellent. His voice has less of the dry, grainy tone that he had in the 80s, here with a much more noble sound, but there is thankfully still much of the spontaneity that made his performances so exciting. His acting is just as good as ever, arrogant and menacing without resorting to being too much of a buffoon.
Walter Berry is terrific as Figaro, like Prey and Finley, he exudes hearty energy and charisma and sings with the usual strong timbre that enabled him to sing Figaro, Papagaeno, Leporello and Don Magnifico as well as heavier roles like Kurwenal, Don Pizarro, Baron Ochs and Telramund. Reri Grist was one of those sopranos that deserved more recognition, and her Susanna is a perfect showcase as to why. This Susanna is exceedingly charming, intelligent and full of fun. What was great about her singing was that it was characterful without resorting to mannerisms like pecking or scooping, she blends well in ensembles(especially so in Sull'Aria) and her rendition of Deh Vieni Non Tardar is very touching.
Edith Mathis may lack the spontaneous boyish charm and innocence of Von Stade for example, but nonetheless makes for a impetuous and impassioned Cherubino. The sweetness and purity of her singing is still evident and always has been, whether as Zerlina, Pamina, Susanna or Annchen. Salzburg at this time had been known for thorough casting, and you can see that clearly in Zolten Keleman's characterful and very vocally focused Bartolo and Margherethe Bence's witty Marcellina(just love how precise her gestures, both in her hands and face, are). David Thaw is good as Basilio if not as hilarious or as ironic as Zednik.
As for the sound, while I would have liked it to have been of sharper quality it is hardly distorted either. Overall, a wonderful Figaro. 10/10 Bethany Cox
