Other early recordings included conductors such as Ettore Panizza (1940), Herbert von Karajan (1950), Vittorio Gui (1955), and Hans Rosbaud (1955), as well as Bruno Walter, Karl Böhm, Erich Leinsdorf, Ferenc Fricsay, and Wilhelm Furtwängler, among others.

The new release included a 96 kHz 24-bit super digital stereo transfer from the original analog and it received the 466 369-2 catalog number.

The booklet contains 100 pages with librettos in English, French, German, and Italian, translated by Avril Bardoni and with notes by Warwick Thompson.

In the same year of its release, James Hinton Jr. of High Fidelity commended the recording, writing "The cardinal virtue of the new London Figaro is precisely that it is not a string of arias, presented rock-candy fashion, but a unified, consistent, and in most respects, extraordinarily fine performance of Le nozze di Figaro – every last bit of it."

The review concludes, "As a representation of the score, this is a superb set, with no present competition, and its excellencies are such that it will exceedingly hard to displace.

"[10] A review from 1956 in the Opera Spotlight section of The American Record Guide gave Kleiber’s recording the following assessment, “The late Fritz Busch was as successful as any on this score, but of the others, only Erich Kleiber with his warm-hearted Viennese characteristics lends an enchantment to the orchestral sequences that remains in mind after the last bar of the music is heard.

The review characterized Seipi’s voice as rich and sensuous and Güden's as “light and gracious” with a “vivid personality.” The viewer described Della Casa as “a lovely artist with consistent vocal beauty” and regarded Danco’s singing as cool but smooth, elegant, and subtle.

The reviewer goes on to describes Güden as "an incomparable Susanna," Siepi "the ideal Figaro" and Danco "an unbelievably good Cherubino."

The reviewer further points out the high quality of the stereophonic sound produced by Decca's remastering of the original mono recording.

[13] Stanley Sadie of Gramophone magazine has called this recording a classic "beautifully played by the Vienna Philharmonic, conducted with poise and vitality and a real sense of the drama unfolding through the music."

Sadie praised Güden for being "impeccably graceful and perfectly timed" and noted the balance among the male singers.

"[14] Philip Hope-Wallace, writing in the Gramophone gave an equally positive review, noting "it is relaxed, beautifully musical and never whipped up … With the meaningful recitative, steady 'level' of the recording, beautiful silent surface and clear balance even in the thickest ensembles, a truly engulfing experience of this opera of operas is imparted."

Erich Kleiber's leadership is golden–witty and warm, with plenty of breathing space for the singers, a knowing hand in the ensembles, and an always-true sense of proportion."

[22][23] Seven years after its release, David Hall of Hi-Fi Stereo noted that Kleiber's Figaro "remains one of the great recordings of the century.

[27] The Metropolitan Opera guide writes, "From Vienna at the dawn of stereo came a Figaro–the first to be presented complete–that remains to this day one of the most authoritative, persuasive and lovable accounts on record.

And much of what was supposedly "invented" later by pioneers of period instruments is already prefigured here: Mozart, fresh, lively, sometimes racy, always psychological and full of wonderful stage temperament.