Mozart: Le nozze di Figaro

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Mozart: Le nozze di Figaro 2:56:24 $67.99
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# Track Title Length Format Sample Rate Price
1 Sinfonia 3:59 192/24 Album only
2 Atto Primo: Cinque... dieci... venti... (No. 1, Duettino: Susanna, Figaro) 2:47 192/24 Album only
3 Atto Primo: Cosa stai misurando (Recitativo: Susanna, Figaro) 0:44 192/24 Album only
4 Atto Primo: Se a caso madama la notte ti chiama (No. 2, Duettino: Susanna, Figaro) 2:41 192/24 Album only
5 Atto Primo: Or bene; ascolta, e taci! (Recitativo: Susanna, Figaro) 1:50 192/24 Album only
6 Atto Primo: Bravo signor padrone! (Recitativo: Figaro) 0:49 192/24 Album only
7 Atto Primo: Se vuol ballare signor Contino (No. 3, Cavatina: Figaro) 2:40 192/24 Album only
8 Atto Primo: Ed aspettaste il giorno fissato a le sue nozze (Recitativo: Bartolo, Marcellina) 1:09 192/24 Album only
9 Atto Primo: La vendetta, oh la vendetta (No. 4, Aria: Bartolo) 3:06 192/24 Album only
10 Atto Primo: Tutto ancor non ho perso (Recitativo: Marcellina, Susanna) 0:42 192/24 Album only
11 Atto Primo: Via, resti servita, madama brillante (No. 5, Duettino: Susanna, Marcellina) 2:14 192/24 Album only
12 Atto Primo: Va' l 2:05 192/24 Album only
13 Atto Primo: Non so piu cosa son, cosa faccio (No. 6, Aria: Cherubino) 2:43 192/24 Album only
14 Atto Primo: Ah son perduto! (Recitativo: Cherubino, Susanna, Il Conte, Basilio) 1:49 192/24 Album only
15 Atto Primo: Susanna, il ciel vi salvi (Recitativo: Basilio, Susanna, Il Conte) 2:10 192/24 Album only
16 Atto Primo: Cosa sento! tosto andate (No. 7, Terzetto: Susanna, Basilio, Il Conte) 4:09 192/24 Album only
17 Atto Primo: Basilio, in traccia tosto di Figaro volate (Recitativo: Il Conte, Susanna, Cherubino, Basilio) 0:57 192/24 Album only
18 Atto Primo: Giovani liete fiori spargete (No. 8, Coro) 1:13 192/24 Album only
19 Atto Primo: Cos'e questa commedia? (Recitativo: Il Conte, Figaro, Susanna) 1:27 192/24 Album only
20 Atto Primo: Giovani liete fiori spargete (No. 9, Coro) 0:57 192/24 Album only
21 Atto Primo: Evviva! (Recitativo: Figaro, Susanna, Basilio, Cherubino, Il Conte) 1:10 192/24 Album only
22 Atto Primo: Non piu andrai farfallone amoroso (No. 10, Aria: Figaro) 4:08 192/24 Album only
23 Atto Secondo: Porgi amor qualche ristoro (No. 11, Cavatina: La Contessa) 3:21 192/24 Album only
24 Atto Secondo: Vieni, cara Susanna (Recitativo: La Contessa, Susanna, Figaro) 3:51 192/24 Album only
25 Atto Secondo: Quanto duolmi, Susanna (Recitativo: La Contessa, Susanna, Cherubino) 1:27 192/24 Album only
26 Atto Secondo: Voi che sapete che cosa e amor (No. 12, Arietta: Cherubino) 2:57 192/24 Album only
27 Atto Secondo: Bravo! che bella voce! (Recitativo: La Contessa, Susanna, Cherubino) 1:08 192/24 Album only
28 Atto Secondo: Venite, inginocchiatevi (No. 13, Aria: Susanna) 2:30 192/24 Album only
29 Atto Secondo: Quante buffonerie! (Recitativo: La Contessa, Susanna, Cherubino (Il Conte)) 2:53 192/24 Album only
30 Atto Secondo: Che novit 1:18 192/24 Album only
31 Atto Secondo: Susanna or via sortite (No. 14, Terzetto: Susanna, La Contessa, Il Conte) 3:25 192/24 Album only
32 Atto Secondo: Dunque voi non aprite? (Recitativo: Il Conte, La Contessa) 0:53 192/24 Album only
33 Atto Secondo: Aprite presto aprite (No. 15, Duettino: Susanna, Cherubino) 0:54 192/24 Album only
34 Atto Secondo: Oh guarda il demonietto! (Recitativo: Susanna) 0:23 192/24 Album only
35 Atto Secondo: Tutto e come il lasciai (Recitativo: Il Conte, La Contessa) 1:17 192/24 Album only
36 Atto Secondo: Esci omai garzon malnato (No. 16, Finale: Il Conte, La Contessa) 2:34 192/24 Album only
37 Atto Secondo: Signore, cos'e quel stupore? (Susanna, Il Conte, La Contessa) 1:29 192/24 Album only
38 Atto Secondo: Susanna, son morta: il fiato mi manca (La Contessa, Susanna, Il Conte) 2:58 192/24 Album only
39 Atto Secondo: Signori, di fuori son gia i suonatori (Figaro, Il Conte, La Contessa, Susanna) 1:03 192/24 Album only
40 Atto Secondo: Conoscete, signor Figaro (Il Conte, Figaro, La Contessa, Susanna) 2:15 192/24 Album only
41 Atto Secondo: Ah signor... signor... Cosa e stato ... Vostre dunque saran... (Antonio, Il Conte, La Contessa, Susanna, Figaro) 5:38 192/24 Album only
42 Atto Secondo: Voi signor, che giusto siete ... Son confusa, son stordita (Marcellina, Basilio, Bartolo, Il Conte, La Contessa, Figaro, Susanna) 3:48 192/24 Album only
43 Atto Terzo: Che imbarazzo e mai questo! (Recitativo: Il Conte) 1:05 192/24 Album only
44 Atto Terzo: Via fati core (Recitativo: La Contessa, Il Conte, Susanna) 1:39 192/24 Album only
45 Atto Terzo: Crudel! perche finora (No. 17, Duettino: Susanna, Il Conte) 2:55 192/24 Album only
46 Atto Terzo: E perche fosti meco (Recitativo: Il Conte, Susanna, Figaro) 0:59 192/24 Album only
47 Atto Terzo: Hai gia vinta la causa! (No. 18, Recitativo: Il Conte) 1:17 192/24 Album only
48 Atto Terzo: Vedro mentre io sospiro (No. 18, Aria: Il Conte) 3:26 192/24 Album only
49 Atto Terzo: E decisa la lite (Recitativo: Don Curzio, Marcellina, Figaro, Il Conte, Bartolo) 2:18 192/24 Album only
50 Atto Terzo: Riconosci in questo amplesso (No. 19, Sestetto: Susanna, Marcellina, Don Curzio, Il Conte, Bartolo, Figaro) 5:42 192/24 Album only
51 Atto Terzo: Eccovi, oh caro amico (Recitativo: Marcellina, Bartolo, Susanna, Figaro) 1:15 192/24 Album only
52 Atto Terzo: Andiam, andiam, bel paggio (Recitativo: Barbarina, Cherubino) 0:44 192/24 Album only
53 Atto Terzo: E Susanna non vien! (No. 20, Recitativo: La Contessa) 1:47 192/24 Album only
54 Atto Terzo: Dove sono i bei momenti (No. 20, Aria: La Contessa) 4:41 192/24 Album only
55 Atto Terzo: Io vi dico signor (Recitativo: Antonio, Il Conte) 0:36 192/24 Album only
56 Atto Terzo: Cosa mi narri (Recitativo: La Contessa, Susanna) 0:25 192/24 Album only
57 Atto Terzo: Sull'aria... Che soave zeffiretto (No. 21, Duettino: Susanna, La Contessa) 3:00 192/24 Album only
58 Atto Terzo: Piegato e il foglio (Recitativo: Susanna, La Contessa) 0:30 192/24 Album only
59 Atto Terzo: Ricevete, oh padroncina (No. 22, Coro) 1:12 192/24 Album only
60 Atto Terzo: Queste sono, madama (Recitativo: Barbarina, La Contessa, Susanna, Antonio, Il Conte, Cherubino, Figaro) 3:12 192/24 Album only
61 Atto Terzo: Ecco la marcia, andiamo (No. 23, Finale: Susanna, La Contessa, Il Conte, Figaro) 2:03 192/24 Album only
62 Atto Terzo: Amanti costanti (Coro) 1:08 192/24 Album only
63 Atto Terzo: Eh gia, solita usanza (Il Conte, Figaro) 1:45 192/24 Album only
64 Atto Terzo: Andate amici! ... Amanti costanti (Il Conte, coro) 1:13 192/24 Album only
65 Atto Quarto: L'ho perduta ... me meschina (No. 24, Cavatina: Barbarina) 2:13 192/24 Album only
66 Atto Quarto: Barbarina, cos'hai (Recitativo: Figaro, Barbarina, Marcellina) 2:01 192/24 Album only
67 Atto Quarto: Presto avvertiam Susanna (Recitativo: Marcellina) 0:34 192/24 Album only
68 Atto Quarto: Il capro e la capretta (No. 25, Aria: Marcellina) 3:31 192/24 Album only
69 Atto Quarto: Nel padiglione a manca (Recitativo: Barbarina, Figaro, Basilio, Bartolo) 2:01 192/24 Album only
70 Atto Quarto: In quegl' anni, in cui val poco (No. 26, Aria: Basilio) 3:50 192/24 Album only
71 Atto Quarto: Tutto e disposto (No. 27, Recitativo: Figaro) 1:15 192/24 Album only
72 Atto Quarto: Aprite un po'quegl'occhi (No. 27, Aria: Figaro) 2:41 192/24 Album only
73 Atto Quarto: Signora, ella mi disse (Recitativo: Susanna, Marcellina, La Contessa, Figaro) 0:50 192/24 Album only
74 Atto Quarto: Giunse alfin il momento (No. 28, Recitativo: Susanna) 1:21 192/24 Album only
75 Atto Quarto: Deh vieni, non tardar (No. 28, Aria: Susanna) 3:11 192/24 Album only
76 Atto Quarto: Perfida, e in quella forma meco mentia? (Recitativo: Figaro, Cherubino, La Contessa) 0:45 192/24 Album only
77 Atto Quarto: Pian pianin le andro piu presso (No. 29, Finale: Susanna, La Contessa, Cherubino, Il Conte, Figaro) 3:22 192/24 Album only
78 Atto Quarto: Partito e alfin l'audace (Susanna, La Contessa, Il Conte, Figaro) 2:15 192/24 Album only
79 Atto Quarto: Tutto e tranquillo e placido (Figaro, Susanna) 4:13 192/24 Album only
80 Atto Quarto: Pace, pace, mio dolce tesoro (Figaro, Susanna, Il Conte) 1:50 192/24 Album only
81 Atto Quarto: Gente, gente, all'armi, all'armi (Il Conte, Figaro, Basilio, Antonio, Susanna, Barbarina, Cherubino, Marcellina, La Contessa) 1:29 192/24 Album only
82 Atto Quarto: Contessa perdono (Il Conte, La Contessa, Susanna, Barbarina, Cherubino, Marcellina, Basilio, Antonio, Figaro) 2:48 192/24 Album only
83 Atto Quarto: Questo giorno di tormenti (Susanna, La Contessa, Barbarina, Cherubino, Marcellina, Basilio, Il Conte, Antonio, Figaro) 1:19 192/24 Album only

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Almost one thousand miles east of Moscow, in the Russian city of Perm, the charismatic and provocative conductor Teodor Currentzis and MusicAeterna, the orchestra and choir he created, are recording Mozart's Da Ponte operas. These no-compromise studio recordings are the fruit of a unique way of living and working which Currentzis has established in this remote, formerly closed city, which was dedicated to arms manufacturing in Soviet times.

In 2011, when invited meet the Artistic Director at Perm's opera house, Currentzis negotiated unheard-of conditions: unlimited rehearsal time; the freedom to schedule performances depending on the quality reached in rehearsals; and finally, the resources to explore with his musicians anything deemed necessary for a fuller understanding of the repertoire, from Baroque dance steps to 20th-century poetry and avant-garde cinema.

The orchestra and choir emphatically embrace a non-establishment attitude, constantly putting themselves in question and striving for perfection. As important as their musical prowess (many members are laureates of international competitions) is their willingness to undergo exceptional rigors to reach the shared artistic goals. Figaro was recorded in sessions of up to fourteen hours over eleven straight days and nights. It is an accepted part of these musicians' daily routine to spend a whole night of work and discussion about its progress at the opera house if necessary – or to devote a full rehearsal to shaping one single chord to perfection. Currentzis has tried to create an environment for those who search for what he calls "a real life in music." Since the founding of MusicAeterna, Currentzis and the ensemble have been awarded 4 Golden Masks – Russia's top performing arts award.

Born in Athens in 1972, Teodor Currentzis moved to St. Petersburg in 1994 to study conducting with legendary teacher Ilya Musin, who has, among others, also trained Valery Gergiev and Semyon Bychkov. While music director of the Novosibirskopera from 2004, Currentzis founded MusicAeterna. After making headlines with various productions, including the controversial so-called Chechnya Aida directed by Dmitry Tcherniakov, Currentzis soon gained recognition beyond the Russian scene. One of Germany's leading newspapers, the Suddeutsche Zeitung, recently described Currentzis as "a hugely talented individual who has proven a sensation on the international stage... Everything about him exudes power and intensity." Peter Culshaw, writing in the London Telegraph, said: "Currentzis could be one of those rare artists capable of shifting the ground of his chosen art, and pulling off something extraordinary –  perhaps even miraculous."

Currentzis' approach to the Mozart scores is based on the conviction that it is virtually impossible today to hear them performed precisely and in full. His stated intention is to undo what he considers the effects of 20th-century operatic tradition focused on simplification and vocal volume at all cost. For Currentzis, these recordings represent the culmination of a decade-long research project dedicated to the discrepancies between the composer's will and what our ears have become used to. About his Figaro, he says:

"The radicality of this recording is its precision. It is through strictest discipline that you unlock the perfume, bring the composer's text into real life, create all these colours that are impossible on the stage. This is why we spent such a significant amount of time in the studio – because we were pushing to reach our limits, to jump above our limit and reach a new understanding of this music. That is the privilege of a no-compromise studio recording. There are so many recordings which convey the general spirit of Mozart's music. The only point in making a new one is to give the audience a chance to hear and learn about all the magic which this score holds. I made this recording because I wanted to show what can be achieved if you avoid the factory approach of the classical-music mainstream. My credo is that every performance you give has to be like a pregnancy. You have to dream and you have to wait until the time comes when you see the miracle happening. If you're not like that in music, you lose the central idea of music. Music is not a profession and it's not about reproduction. It's a mission."

Currentzis' rigorous approach extends to all stages of the recording set-up as well as to the post-production sequence. The editing and mixing of Figaro in Paris was a process of several weeks in which every single decision was made and its execution supervised by the conductor. Currentzis, a diehard devotee of high-end audio equipment, took particular care in the shaping of the overall soundscape for these recordings.

While period instruments are being used in this cycle, no dogmatic "authentic performance" claim is made. Currentzis chooses the orchestra's instruments depending on repertoire. For the Da Ponte cycle, historic instruments were chosen because, as Currentzis explains:

"They give me the vibrancy, the speed, the taut, tight, crisp sound which fully delivers the thrill of this music. I use them because they sound better. If I thought this music sounded better on electric guitars, I would perform it on electric guitars."

The soloists' vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today's "period practice" standards as well as an approach to melodic ornamentation derived from historical sources which cannot be heard in other performances of these works.

In 2012 Sony Classical signed an exclusive long-term agreement with Currentzis under which all of his recordings will be made with MusicAeterna. The first two opera recordings, already finished, were Mozart's Figaro and Cosi. Don Giovanni will be recorded in October 2014.

The lead soloists appearing in Le Nozze di Figaro are Andrei Bondarenko as Count Almaviva, Simone Kermes as Countess Almaviva, Christian Van Horn as Figaro and Fanie Antonelou as Susanna. The Cosi fan tutte lead soloists are Simone Kermesas Fiordiligi, Malena Ernman as Dorabella, Christopher Maltman as Guglielmo, Kenneth Tarver as Ferrando, Konstantin Wolff as Don Alfonso, and Anna Kasyan as Despina.