Mozart: Le Nozze di Figaro

Stéphane Degout (Il Conte), Eleonora Buratto (Contessa), Christiane Karg (Susanna), Alex Esposito (Figaro), Marianne Crebassa (Cherubino), Katharine Goeldner (Marcellina), Umberto Chiummo (Bartolo), Krystian Adam (Basilio), Chorus of Dutch National Opera, Netherlands Chamber Orchestra, Ivor Bolton

Bolton is observant in conveying the detail of the score, drawing clean, clear textures from the Netherlands Chamber Orchestra...Bösch’s production is more of a mixed quantity...Figaro is a serious... — BBC Music Magazine, December 2020, 3 out of 5 stars (Performance) / 4 out of 5 stars (Picture and Sound) More…

Release Date: 11th Sep 2020
Catalogue No: 109393
Label: Arthaus Musik

Mozart: Le nozze di Figaro, K492

Stéphane Degout (baritone), Eleonora Buratto, Christiane Karg (soprano), Alex Esposito (baritone), Marianne Crebassa (mezzo-soprano), Katharine Goeldner, Umberto Chiummo, Krystian Adam, Chorus of Dutch National Opera
Netherlands Chamber Orchestra
Ivor Bolton

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Le nozze di Figaro is one of the most successful comic operas ever. Director David Bösch is a born storyteller. He likes to focus on the classics, and is known for his poetic approach. In this new production of Le nozze di Figaro, the hectic, bubbly story of Figaro’s eventful wedding party is visually interpreted in a revolving stage set.

Le nozze di Figaro is based on Beaumarchais’ play La folle journée ou Le mariage de Figaro, which shook up the feudal French society to its core. For Mozart’s opera, librettist Da Ponte removed the sharper edges in order to mollify the censors, and Le nozze di Figaro was eventually received with great enthusiasm. Passages had to be repeated so often by request that Emperor Joseph II himself enforced a clamp down on the number of encores!

Alex Esposito will sing the title role opposite Stéphane Degout as Count Almaviva. They will be singing alongside Eleonora Buratto as the Countess, and Christiane Karg (DNO debut), as Susanna, Figaro’s bride.

Reviews

December 2020

Bolton is observant in conveying the detail of the score, drawing clean, clear textures from the Netherlands Chamber Orchestra...Bösch’s production is more of a mixed quantity...Figaro is a serious comedy, of course, but there’s something particularly dour about these proceedings: the show never quite rises to the level of good humour required. A pity, because so many of the vocal performances hit the spot, especially Buratto’s Countess and Marianne Crebassa’s Cherubino – both pretty well ideal.

November 2020

The theatrical pacing is sharp, the characters’ interaction lively and detailed. This, though, is a Figaro as likely to make you squirm as smile...Urged on by Ivor Bolton’s brisk, no-nonsense direction, the singers throw themselves wholeheartedly into Bösch’s conception...Karg’s Susanna is both razor-sharp (as any Susanna must be) and long-suffering…Degout’s charismatically sung Count, at once seedy, dangerous and absurd, dominates the stage whenever he appears.

Mozart: Le Nozze di Figaro

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