Absolutely vital but entirely unforced. It is probably the finest recorded staging of the opera, not only because it's vibrant but also due to the high quality of music making. Key to this is Terfel's total assimilation of Figaro, impossible to fault. Beside him is Alison Hagley's Susanna, THE Susanna of the 1990s, Rodney Gilfry's malevolently self-absorbed Count... only Martinpelto's Countess has unmatchable opposition in Kiri te Kanawa for Haitink and Renee Fleming for, er, Haitink (both Glyndebourne, 25 years apart!). But even she manages a personalised, limpid sound that endears.
The opera excels on film as the director is able to pick out all sorts of asides. Drama is infused in the marrow of the production, not least because the recitatives are delivered so fluidly: it follows form this that the ensemble is acting at all times, irrespective of who is being featured. Funny and heartwarming. 7/10
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