Mozart: Le nozze di Figaro, K 492

Reviewed on Thu 03 Nov, 2016

Rolando Villazón’s scene-stealing Basilio and Maurizio Muraro’s Bartolo are a delight, Sonya Yoncheva’s melancholic Countess gloriously sung, Christine Karg’s Susanna a fine foil to Luca Pisaroni’s characterful and certain Figaro, with Angela Brower’s Cherubino spirited and fun.

The fourth of Yannick Nézet-Séguin’s survey of Mozart’s mature operas from the Baden-Baden Festival is every bit as good as the first three instalments: Don Giovanni, Così fan tutte (reviewed 1 November 2013) and Die Entführung aus dem Serail (reviewed 17 August 2015). This Figaro sizzles with vitality – the Chamber of Europe playing with idiomatic bounce and bite – albeit it’s also not as vivacious as it ought to be; Nézet-Séguin doesn’t always clinch the moment and the luxury casting is not as secure a guarantee as it appears on paper. Rolando Villazón’s scene-stealing Basilio and Maurizio Muraro’s Bartolo are a delight, Sonya Yoncheva’s melancholic Countess gloriously sung, Christine Karg’s Susanna a fine foil to Luca Pisaroni’s characterful and certain Figaro, with Angela Brower’s Cherubino spirited and fun. But Anne Sofie von Otter’s otherwise expressive Marcellina has a hint of affectation about her, Thomas Hampson’s Count not always consistent and under-sung in places.
–Michael Quinn