If this recording had been released 15 years ago it would have been welcomed with a parade. Put aside the fact that it is sung in English, which is either a plus or a minus, depending on how you feel about the issue (and this translation by Jeremy Sams is wonderfully singable and idiomatic without being too familiarly slangy), and what you get is a perky, honest, theatrical, well-sung and -played Figaro, with carefully delineated characters and a fine sense of the work’s complexities. After an overture that’s absolutely the fastest on CD–and probably the fastest this music can be played and still be properly articulated–David Parry offers an uneccentric reading, one that might be found in a small, fastidious opera house anywhere in the world (again, putting aside the language) where plenty of rehearsal time is allotted and the cast is a fine group of ensemble players.
Christopher Purves’ Figaro is well detailed and a very strong character, particularly good at outrage. I wouldn’t want to mess with Rebecca Evans’ Susanna. She has a will of iron and takes nonsense from no-one–just listen to her with Marcellina in the first act–and the tiny touch of acid in her tone underpins her character. The wonderful Yvonne Kenny as the Countess sounds a bit unsure in her two arias, but elsewhere she’s charming, involved, and willing to play along with Susanna while at the same time keeping her dignity.
William Dazeley lets us know just who the Count is–and he’s not very nice–and aside from the usual trouble singers have with the final bars of the third-act aria, he’s vocally splendid. Diana Montague’s Cherubino is good enough and the others are better than good. Piece by piece, this may not be a great Figaro, but when the show’s over you feel well-rewarded. If there were no Gardiner, Jacobs, or Colin Davis performances, this would be hot. As it stands, it’s a very respectable representation of a great work, albeit without star turns. Sonics are flawless, and the text is understandable more often than not.
