MOZART: “LE NOZZE DI FIGARO.” Lucia Popp,...

MOZART: “LE NOZZE DI FIGARO.” Lucia Popp, Barbara Hendricks, Agnes Baltsa, Ruggero Raimondi, Jose van Dam; Ambrosian Opera Chorus; Academy of St. Martin-in-the-Fields conducted by Neville Marriner. Philips 416 370-2 (three compact discs). The evocative ambiance and intimate feel of this “Nozze” almost obviate any of the shortcomings in the singing. Marriner’s modest orchestra, exemplary balances and generally fleet tempos make the Almaviva household seem a fortress of minor intrigues and major conspiracies, where the Count plots seductions, the Countess feels rejection and Figaro contemplates revenge, all without ruffling the serene surface. A sense of ensemble prevails despite some curious musicological decisions--the restoration of the Marcellina and Basilio arias in Act IV; inconsistency about appoggiaturas; “Dove sono” in its later and inferior place in Act III. The vocalism, which prizes decorum and even tone above other virtues, is consistent unto itself. Popp’s light Countess depends on carefully nuanced dynamics rather than overt histrionics to achieve pathos. Hendricks floats an elegantly airy sound in “Deh vieni,” but lacks sufficient vocal weight to establish much of a character. Baltsa’s impetuous Cherubino survives erratic speeds. Van Dam misses genuine bass authority, but still communicates Figaro’s revolutionary fervor. Raimondi’s suave Count conveys the requisite menace. Sumptuous casting in the smaller roles; brilliant sound.