This always has been, and still is, one of the best-sung, least-satisfying Figaros ever recorded. In addition to the unexplained exclusion of all the secco recitative, Karajan seems to be performing some sort of stunt. Tempos are wildly fast, almost as if to see whether or not the singers can articulate their notes and words at such a clip (they mostly can, by the way), and this leads to a type of daintiness that reaches its peak in the “Signore! Cos’e questo stupore” section of the second act finale wherein everyone–both men and women–seems to be tweeting. It sounds either digitalized or Germanic, depending on your individual prejudice. One is nonetheless taken with the sheer beauty of Irmgard Seefried’s Susanna and the nobility of Elisabeth Scwarzkopf’s Countess, while Erich Kunz’s Figaro is just about ideal in a truly icy way and George London’s big (but scaled down) sound as the Count makes it seem as if Scarpia is somehow on the loose in the Almaviva palace. The orchestra of course plays smoothly and beautifully. But this Figaro leaves you feeling empty; Mozart would hate it. [1/10/2000]
