Following 
                directly on from Naxos’s Introduction to … Fidelio (Naxos 
                Opera Explained 8.558077: link review), here is a layman’s guide 
                to Mozart’s Le nozze di Figaro. In terms of the operas 
                themselves, comedy and farce in Mozart replace Beethoven’s high 
                hymn to humanity. As in the case of the Beethoven, Naxos naturally 
                uses its own recording for quotes (soloists with the Hungarian 
                State Opera Orchestra conducted by Pier Giorgio Morandi) and, 
                also as previously, this makes for a musically satisfactory arrangement. 
                 
              
 
              
Seeing 
                Figaro in its broader context is a commendable, but not 
                necessarily simple, undertaking, and so it is fitting that the 
                ‘Background’ section of the disc (i.e. before we get to detailed 
                discussion of the opera itself) takes up nearly 32 minutes of 
                the total of 80. Tracing Mozart’s operatic trajectory is a fascinating 
                journey, along the way taking in excerpts from Ascanio in Alba, 
                Entführung, and on to Zauberflöte. Of 
                course, Figaro is further contextualised within the sphere 
                of da Ponte (with Don Giovanni and Così fan tutte), 
                Beaumarchais and Rossini’s Barber: characters and their 
                functions in the latter are effectively compared and contrasted. 
                 
              
 
              
As 
                for the opera proper, it is a tribute to the care with which the 
                spoken text has been assembled that the complexities of plot (which 
                do appear more graspable when one sees the opera, but can so easily 
                sound convoluted when one tries to explain them) come across as 
                plainly and clearly as possible. An admission of this difficulty 
                (‘only God and Mozart have ever followed exactly what happens 
                in Act 4’) is touching in its honesty. Carefully chosen musical 
                quotes from the opera help throughout, and will surely act as 
                musical signposts when the novice actually listens to Figaro 
                in toto (or, best of all, sees a production).  
              
 
              
As 
                a promotional tool for the full opera set, this Introduction 
                fulfils its remit perfectly. There is something of interest for 
                just about everybody, even those who may think they know the opera, 
                its genesis and its context inside out.  
              
 
              
Colin 
                Clarke