Tito Gobbi's Perfect Triplets in his Slimy Count Almaviva

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Mozart: Le Nozze di Figaro, Act 3, "Hai già vinta la causa" Live 1963 Dir. Georg Solti

[@jmiller05]

Sublime legato on those triplets and bursting with character as always.

[@manolis.799]

It’s too bad he didn’t have too many opportunities to show off his florid technique. The other big example was him going pound for pound opposite Maria in the Barbiere recordings. Not an easy feat.

[@aetion]

A great singer as well as a great actor. Tito Gobbi is an opera legend! Thank you, dear Manoli.

[@manolis.799]

Thank you sir!!!

[@arnoldamaral3814]

This character always reminded me of Mozart's father do a certain extent. Gobbie what's so versatile I like our Maya said Mozart required big voices. This is probably Mozart's finest work but how can you compare greatness thank you my friend for posting Arnold❤

[@manolis.799]

Thank you Arnold!!!

[@paullewis2413]

What a tragedy the sound is so bad, however Gobbi’s performance still shines through and with Solti conducting, what a treat. I think this was probably from the ROH/London in the golden age of opera.

[@manolis.799]

You’re exactly correct! ROH

[@jasonhurd4379]

Le nozze di Figaro is an opera with some good tunes, and very occasionally a few great ones; but the quality of the music, as so rarely in Mozart, takes a back seat in this work to its power of characterisation. Almaviva is not an entirely sympathetic character, and for years I considered Dietrich Fischer-Dieskau to be the worthiest exponent of the role. However, Tito Gobbi fully brings out an aspect of the aristocrat not often played up nowadays: his sadistic, indeed diabolical, desire that he should obtain any and all of his lusts, no matter who is hurt in the process. He is a self-pitying, infantile and destructive narcissist, and Gobbi reminds us of this at every turn, not least in the triplet fiorituræ (on the word 'giubilar') which he does indeed sing perfectly. Gobbi is abetted in this portrait of a diabolus in musica by Solti's conducting, which is driven, maniacal and disinterested in 'Mozartean grace'. A vivid and unforgettable rendition. Thank you, Manoli!

[@manolis.799]

I feel like Gobbi’s Mozart efforts aren’t always appreciated. They’re always bursting with character, his portrayal of Don Giovanni makes what can be sort of a one-note character (he’s often outshone by Leporello and/or Elvira) and brings so many colors and nuances to the role. Gobbi’s popular reputation seems to be limited to Verdi + Scarpia, and it’s easy to see why, but he was as varied and successful a performer as any of them. One does not sing everything from L’Orfeo to Wozzeck without being an extremely flexible performer.

[@jasonhurd4379]

​@@manolis.799Absolutely correct. Gobbi brought to all his portrayals a fire and vividness that remind us of no one so much as the mighty Callas.