Special offer. Beethoven: Fidelio, Op. 72

Name: Beethoven: Fidelio, Op. 72
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Sena Jurinac (Leonore), Jon Vickers (Florestan), Gottlob Frick (Rocco), Hans Hotter (Pizarro), Elsie Morison (Marzelline), John Dobson (Jaquino), Forbes Robinson (Fernando), Joseph Ward (First Prisoner), Victor Godfrey (Second Prisoner)

Covent Garden Opera Orchestra & Chorus, Otto Klemperer

Here is the first night of Otto Klemperer's legendary 1961 Fidelio, from the Royal Opera House, to challenge his noted studio set from a year later.This confirms the Achilles' heel of Walter... — Gramophone Classical Music Guide, 2010 More…

Release Date: 1st Nov 2003
Catalogue No: SBT21328
Label: Testament

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Beethoven: Fidelio, Op. 72

Overture

Jetzt ...

Der Arme ...

O War' ...

Guten Tag ...

Mir Ist ...

Hore, Fidelio ...

Hat Man Nicht ...

Ihr Konnt ...

Gut, Sohnchen ...

Marsch

Wo Sind ...

Ha, Welch

Hauptmann, ...

Jetzt, Alter ...

Abschgeulicher!

Rocco ...

O Welche Lust!

Nun Sprecht ...

Ach, Vater, Eilt!

Beethoven: Beethoven: Fidelio [Disc 2]

Beethoven: Fidelio, Op. 72 - Act 2: Gott! Welch Dunkel Hier!

Beethoven: Fidelio, Op. 72 - Act 2: Wie Kalt Ist Es In Diesem Unterirdischen Gewölbe!

Beethoven: Fidelio, Op. 72 - Act 2: Nur Hurtig Fort...

Beethoven: Fidelio, Op. 72 - Act 2: Er Erwacht!

Beethoven: Fidelio, Op. 72 - Act 2: Euch Werde Lohn In Besser'N Welten

Beethoven: Fidelio, Op. 72 - Act 2: Alles Is Bereit

Beethoven: Fidelio, Op. 72 - Act 2: Er Sterbe! Doch Er Soll Erst Wissen...

Beethoven: Fidelio, Op. 72 - Act 2: Vater Rocco! Vater Rocco!

Beethoven: Fidelio, Op. 72 - Act 2: Es Schlägt Der Rache Stunde!

Beethoven: Fidelio, Op. 72 - Act 2: O Namenlose Freude!

Beethoven: Fidelio, Op. 72 - Act 2: Leonora #3 Overture

Beethoven: Fidelio, Op. 72 - Act 2: Heil Sei Dem Tag, Heil Sei Der Stunde

Beethoven: Fidelio, Op. 72 - Act 2: Du Schlossest Auf Des Edlen Grab

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Recorded 1961, mono

Reviews

2010

Here is the first night of Otto Klemperer's legendary 1961 Fidelio, from the Royal Opera House, to challenge his noted studio set from a year later.This confirms the Achilles' heel of Walter Legge, EMI's leading mogul at the time, in his unwillingness to record live occasions, probably because he liked to have every aspect of a recording under his control. In this case there is more to it than that. Klemperer wanted, in the studio, to retain his Covent Garden cast; Legge preferred to make changes with two exceptions (Jon Vickers and Gottlob Frick). On the evidence of this magnificent issue, Klemperer was right. Not only are the singers, by and large, better equipped for their roles, but given the electricity of the occasion the conductor's interpretation is more vital (often faster tempi) and even more eloquent. For his own staging, Klemperer decided to include far more dialogue than is usually heard so that we have as much a play with music as an opera. The singers speak and act with such feeling and immediacy, most particularly Jurinac, Hotter and Frick, as to justify the added text. Add to that the dedication on all sides to Klemperer, and you can imagine why this was such a special occasion.
Compared to Christa Ludwig on Klemperer's studio version, Sena Jurinac creates a more believable and vulnerable Leonore. Her heartfelt sympathy with the role is evident in every line she speaks and sings, most notably in key phrases in her duet with Rocco near the end of Act 1 and the melodrama in Act 2. Once past some first night nerves evident in 'Abscheulicher!' she proves an ideal Leonore. Vickers, even in these early days of his career, is inclined to sentimentalise his Florestan with scoops and lachrymose effects, but all is forgiven when he provides the heroic thrust and inner feeling which the part demands and which is so notably absent from the Florestan on the recent Rattle version. Frick's Rocco is, if possible, even more admirable than on the studio set, expressing the jailor's terrible dilemma in the kind of incisive, warm tones few other basses on disc match.
It is incomprehensible that Legge preferred as Pizarro the too-comfortable sounding Walter Berry to Hans Hotter. Hotter, usually known for his noble roles, is here the epitome of evil, a threatening force of nature, his voice and diction full of menace so that he can be forgiven one or two wobbles in his aria. The young lovers are personably sung and enacted by Elsie Morison and John Dobson, and another Royal Opera stalwart, Forbes Robinson, is a dignified Don Fernando.
There was a fuss at the time about Klemperer's inclusion of Leonore III, but he fully justifies it by his electrifying interpretation. He insisted on placing the wind in the middle of the orchestra spectrum, and the balance is improved throughout as a result. His reading overall has the stature and sense of the work's philosophical basis which will be familiar to those who know his discs of the symphonies.

2010 edition

the quality of the splendid (1962) Kingsway Hall recording is very apparent, with the voices beautifully caught in relation to the orchestra, all within a glowing ambience. The result is a triumph to match the unique incandescence and spiritual strength of the performance, superbly cast

Special offer. Beethoven: Fidelio, Op. 72

2 CDs

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