I suggest that anyone looking for an ideal first recording to have read my review, because I've put a lot of research into the various Figaro recordings.  And I was once in that exact same spot: which recording is best? I didn't want to buy every single one!  I'm reviewing, in fact, to impart what I've learned from this unto someone else, so that they won't have to spend so much money searching for that perfect recording.

Anyway, my friend and I had fallen in love with this opera not too long ago.  Back then, I was under the impression that, like most things, there would be an ideal standard.  Well, it wasn't that easy.  We discovered that looking for the best Figaro recording is very, very, difficult.  Every good review is countered by a bad one.  We read all reader reviews, professional reviews, and listened to previews.  Eventually, between the two of us, we got: this one (Bohm,) Giulini, and Jacobs (I also intend on buying Kleiber sometime in the future, but the Figaro is much too dark for my liking.)

I don't quite know how to say this nicely... I do NOT like Bohm's.  Why?  Because it's so darn slow!  Listening to it, you just think "This is an Italian comic opera, not a requiem mass!"  It's honestly plodding.  Pieces that are supposed to be almost thrillingly fast, like "Tutto e disposto," and "Aprite, presto, aprite" are sung fast, but the orchestration does not seem to keep up.  In fact, in the former it sounded like poor Hermann Prey was struggling with trying to keep so slow.  Slower, prettier pieces like "Sull'aria" and "Giunse alfin il momento... Deh vieni, non tardar" are downright plodding.

Now, it's certainly pretty.  I'd bet that's why "Shawshank Redemption" used the Bohm version of "Sull'aria"--it's very, very pretty.  But IMO it does not keep with the spirit of the opera.  It's light.  It's happy.  It's not Puccini or Verdi or something.

The singing is, of course, fantastic.  I wish that I could hear Hermann Prey on another recording which has a faster tempo, because I bet that he would wow me and could possibly even become one of my favorite Figaros.  He shows a great amount of character, which I love--to me, Figaro is all about the personality coming through.  Too bad, like I said, that he is featured on a recording which has conducting that does not allow him to truly shine.

I would not recommend this for a first recording.  It is not something that someone unfamiliar with the opera should get.  I would wait until one has a good primary recording and/or is familiar with the opera.  The entire thing is worth listening to, I just wouldn't recommend owning it for that CD you pop in when you want to listen to the opera.  But, there are certain parts that are great.  It's good ear-candy, and I'm sure that one would find it the most amazing thing ever if not familiar with the opera... but those who are probably will find the conducting incredibly unfitting.  It just doesn't match the opera.  Even the unhappy moments should have energy.  If "Porgi, amor" is too slow, for example, it will just drag on and on forever.

Also, the recits before arias are split into different tracks, which can get really annoying.

Anyway, what recording would I recommend for a first copy?  Rene Jacobs, definitely.  If one finds the conducting on that one too fast, then Giulini.  Giulini is a happy medium between the two conducting, even though I found the recits ridiculously fast and hard to understand.  But, hey, this isn't a review of Giulini's.  So, yes, I suggest Jacobs for people who just want one good, solid recording to appease those Figaro cravings.  Or a first recording for Figaro nerds like myself.  Bohm should be something that is second or third.

So, yes.  I don't recommend this for a primary album, because I just cannot stand the conducting.  Obviously, there are people who disagree (this recording is pretty legendary.)  But, this is what I've found, myself.
I suggest that anyone looking for an ideal first recording to have read my review, because I've put a lot of research into the various Figaro recordings. And I was once in that exact same spot: which recording is best? I didn't want to buy every single one! I'm reviewing, in fact, to impart what I've learned from this unto someone else, so that they won't have to spend so much money searching for that perfect recording. Anyway, my friend and I had fallen in love with this opera not too long ago. Back then, I was under the impression that, like most things, there would be an ideal standard. Well, it wasn't that easy. We discovered that looking for the best Figaro recording is very, very, difficult. Every good review is countered by a bad one. We read all reader reviews, professional reviews, and listened to previews. Eventually, between the two of us, we got: this one (Bohm,) Giulini, and Jacobs (I also intend on buying Kleiber sometime in the future, but the Figaro is much too dark for my liking. )

I don't quite know how to say this nicely... I do NOT like Bohm's. Why? Because it's so darn slow! Listening to it, you just think "This is an Italian comic opera, not a requiem mass! "  It's honestly plodding. Pieces that are supposed to be almost thrillingly fast, like "Tutto e disposto," and "Aprite, presto, aprite" are sung fast, but the orchestration does not seem to keep up. In fact, in the former it sounded like poor Hermann Prey was struggling with trying to keep so slow. Slower, prettier pieces like "Sull'aria" and "Giunse alfin il momento... Deh vieni, non tardar" are downright plodding. Now, it's certainly pretty. I'd bet that's why "Shawshank Redemption" used the Bohm version of "Sull'aria"--it's very, very pretty. But IMO it does not keep with the spirit of the opera. It's light. It's happy. It's not Puccini or Verdi or something. The singing is, of course, fantastic. I wish that I could hear Hermann Prey on another recording which has a faster tempo, because I bet that he would wow me and could possibly even become one of my favorite Figaros. He shows a great amount of character, which I love--to me, Figaro is all about the personality coming through. Too bad, like I said, that he is featured on a recording which has conducting that does not allow him to truly shine. I would not recommend this for a first recording. It is not something that someone unfamiliar with the opera should get. I would wait until one has a good primary recording and/or is familiar with the opera. The entire thing is worth listening to, I just wouldn't recommend owning it for that CD you pop in when you want to listen to the opera. But, there are certain parts that are great. It's good ear-candy, and I'm sure that one would find it the most amazing thing ever if not familiar with the opera... but those who are probably will find the conducting incredibly unfitting. It just doesn't match the opera. Even the unhappy moments should have energy. If "Porgi, amor" is too slow, for example, it will just drag on and on forever. Also, the recits before arias are split into different tracks, which can get really annoying. Anyway, what recording would I recommend for a first copy? Rene Jacobs, definitely. If one finds the conducting on that one too fast, then Giulini. Giulini is a happy medium between the two conducting, even though I found the recits ridiculously fast and hard to understand. But, hey, this isn't a review of Giulini's. So, yes, I suggest Jacobs for people who just want one good, solid recording to appease those Figaro cravings. Or a first recording for Figaro nerds like myself. Bohm should be something that is second or third. So, yes. I don't recommend this for a primary album, because I just cannot stand the conducting. Obviously, there are people who disagree (this recording is pretty legendary. )  But, this is what I've found, myself.