This recording, from a 1943 NBC Broadcast from the Met (although, as we learn in the accompanying booklet, “five minutes in Act 1, some six minutes in Act 2, two instances of three minutes in Act 3, and a very short patch in Act 4” are taken from a different broadcast with the same cast) features what may be some of the most phonogenic voices ever to hit discs. These are singers with real “face”: Ezio Pinza, Bidu Sayao, Eleanor Steber, and Jarmila Novotna. Indeed, you can practically see them. There’s an energy, a love of singing and performing that you get from artists such as these that’s very special.
In this quickly conducted performance (tempos are practically what we’ve come to expect in “historically informed performances”), Pinza is a colorful, knowing Figaro who learns about himself during the course of the opera, and the voice is magnificent. The first act finds him flatting on high, soft notes, but he warms up thereafter. Sayao has great charm and just the right amount of sass as Susanna, and the sound itself is sheer loveliness. Steber had only sung the Countess a handful of times before this performance, but she is the Countess; if forced, I would have to say that her singing of the role here is the finest I’ve ever heard, both as pure voice (and technique) and characterization. Novotna’s Cherubino was a favorite of audiences but I find it less compelling and a bit hard-edged. John Brownlee is a weak link as the Count–he never really does anything wrong, but he’s out of his league with his dry tone and literal approach. Salvatore Baccaloni is a nice bonus as Bartolo. The rest of the cast is nicely flavorful. As mentioned, Breisach keeps the action flowing, and if the Met Orchestra is a bit rag-tag at times, you’ll hardly notice. The sound is mostly acceptable with some really bad patches.
As a bonus, Guild gives us, with commentary, a broadcast from the Standard Hour in 1951. Eugene Conley’s bright, non-Italianate tenor is fine in arias from Manon and Le Roi d’Ys, and he partners Sayao well in the St. Sulpice scene from Manon. Sayao is hardly as vocally fresh as she was as Susanna eight years earlier, but she’s still effective. This is a fascinating release, though of course it can’t be your only Figaro. Nevertheless it does remind us that Mozart was truly well served long before performing his operas became a cause for self-conscious study.
