Le nozze di Figaro, old style

Yesterday we decided to watch a DVD of Le Nozze di Figaro that was filmed at Glyndebourne in 1973. I had watched it before, but it reminded me of the wonderful singing that was going on in that generation of artists. The London Philharmonic Orchestra was directed by John Pritchard and the cast included Knut Skram in the title role, Ileana Cotrubas as Susanna, Kiri Te Kanawa as the Countess, Benjamin Luxon as the Count and Frederica von Stade as Cherubino. Now where would you find a cast like that today?

Remarkable singing was the norm in this performance. Knut Skram, the Norwegian baritone sang with a fine vocal technique and physical agility that made him an ideal Figaro. The wonderful Ileana Cotrubas impressed me again as one of the finest lyric sopranos I have ever heard. Her beauty of tone was matched by her flawless technique. She was radiant in the role. I saw her many times at the Met and was always impressed with her artistry.

Kiri Te Kanawa was elegant and in fine voice as the Countess. This was relatively early in her career, as it was with the other singers, and she has gone on to become a legend in Mozart and Strauss operas. Her Marshallin was a joy to remember. Her recent brief appearance at the Met in La Fille du Régiment showed some wear on the voice, but she brought off what is usually just a speaking role brilliantly and added a song, which the Duchess doesn't usually sing.

My good friend, Ben Luxon, was in his glory as the Count. His rich baritone voice and his amazing presence on stage, electrified the role. Frederica von Stade was in her prime as Cherubino and sang very well.

The thing that struck me about the singing was that, especially in the case of the sopranos, no one seems to be able to sing like that any more. Seamless lines, natural vibrato, gorgeous spinning tone. Today's crop of Divas seems to go for loud and wobbly. Bring back the good old days!

I know that I have been spoiled by the wonderful singers I have heard in my 80 years, but this listening experience brought back many happy memories of the Golden Age of singing, 20th Century style. Today's young singers should listen to some of these great artists who no longer are on the operatic stage. Some of today's voice teachers should probably do the same!