Two ‘Figaros’: 1 Works, 1 Doesn’t

One of the great recording treats of this Mozart year is the CD issue of the classic Herbert von Karajan set devoted to “Le Nozze di Figaro” (EMI 7 69639 2, two discs).

Made in 1950, it featured the now legendary Vienna ensemble active immediately after World War II: Erich Kunz, Irmgard Seefried, George London, Elisabeth Schwarzkopf, Sena Jurinac and others, with forces of the Vienna State Opera. Purists may have been scandalized that some of the recitatives were cut, but the rest of the score has rarely been so well served.

Karajan leads a performance remarkable for loving attention to detail, spontaneity and aristocratic sculpting of the musical line. This was rerecorded during a period in his career when the music meant more to him than mannerisms and superstar status.

All of the singers are first-class, but it is a special thrill to hear such fresh young voices as those of Seefried, Schwarzkopf (also before the mannerisms set in), Jurinac and London as the singers were embarking on international careers.

Back in the world of mortals, Daniel Barenboim’s recent “Nozze di Figaro” on Erato (2292-45501-2, three discs) offers, even with the peerless Berlin Philharmonic at his command, rather perfunctory conducting, with little evident affection for the score.

In a cast that includes John Tomlinson, Joan Rodgers, Andreas Schmidt and Lella Cuberli, the only singer who warrants comparison with Karajan’s Viennese ensemble is the lovely Cecilia Bartoli as Cherubino.