James Levine (1943–2021)

The story in outline: randy husband with roving eye chases reluctant young woman while neglected wife schemes to rewin husband’s affections. Meanwhile, woman’s fiancé struggles with issues of trust as youthful neighbour comes to terms with coming of age.
Mozart's "The Marriage of Figaro" embodied the spirit of the French Revolution when it premiered in 1786, portraying the comic triumph of skilled and quick-witted middle-class servants over their pompous and decadent royal masters. The show more Beaumarchais play from which this opera drew inspiration had been banned in Paris for its volatile political content: finding dark humour in class power struggles was dangerous business in pre-Revolutionary France. For the many fans of the effervescent masterpiece today, its revolutionary overtones are all but lost. Yet it endures because Mozart went beyond the class struggles of his day to weave many of life's timeless themes into the opera: love and betrothal, betrayal and justice, greed and vengence, innocent youth and jaded old age. Characters who Beaumarchais sketched as ideologically shaded silhouettes gain through Mozart’s music the hearts and souls of persons one might embrace. A youth trembling with new passions. A young man confident of his cleverness. A loving wife, forlorn, her husband estranged. Couples that, like real couples, can both quarrel and forgive. show less

Not sure if it's my familiarity with the material or that Tatiana Troyanos can enunciate the hell out of her part. Her tone is just a bit too mellow for a very young man, but ee-by-gum you can understand everything she says. Fischer-Dieskaw as the Conte comes off dark throughout. Surely there's room for some lightness. Delightful recording that includes some arias often left out of staged productions.