~ Renata Tebaldi
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~ Giuseppe Verdi
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~ Christoph Willibald Gluck
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~ Birgit Nilsson
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~ Modest Mussorgsky
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On this CD:
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Fidelio
Composed by Ludwig van Beethoven
Performed by Vienna State Opera Concert Choir
with Birgit Nilsson, James McCracken, Tom Krause, Kurt Böhme, Graziella Sciutti, Donald Grobe, Hermann Prey, Kurt Equiluz, Gunter Adam
Conducted by Lorin Maazel
Product Description
Amazon.co.uk Review
Birgitt Nilsson puts the "dramatic" into "dramatic soprano" in her portrayal of Leonore/Fidelio in this classic recording from 1964. She marshals all the forces of her rich, powerful voice to thrilling effect, beginning with her muted entrance in the Act 1 quartet, through a hair-raising rendition of "Abscheulicher!" (when she has overheard the plot to murder her husband), to the brilliant joy of her final duet. She is well matched by McCracken, who spares us nothing of Florestan's hysteria and madness in his great aria from Act 2. Pizarro is written pretty much as a cardboard villain, but Krause brings a booming enjoyment to the role which compensates for the two-dimensional quality of characterisation. Maazel's speeds are generally much quicker than on other recordings, giving the whole opera a thrilling urgency. The Vienna Philharmonic is on top form; the beginnings of "Mir ist so wunderbar", and the Prisoners' Chorus are models of string playing at its absolute best, and the horns in "Abscheulicher!" have to be heard to be believed. This recording gives us a collection of talents at the peak of their powers. --Warwick Thompson
Birgitt Nilsson puts the "dramatic" into "dramatic soprano" in her portrayal of Leonore/Fidelio in this classic recording from 1964. She marshals all the forces of her rich, powerful voice to thrilling effect, beginning with her muted entrance in the Act 1 quartet, through a hair-raising rendition of "Abscheulicher!" (when she has overheard the plot to murder her husband), to the brilliant joy of her final duet. She is well matched by McCracken, who spares us nothing of Florestan's hysteria and madness in his great aria from Act 2. Pizarro is written pretty much as a cardboard villain, but Krause brings a booming enjoyment to the role which compensates for the two-dimensional quality of characterisation. Maazel's speeds are generally much quicker than on other recordings, giving the whole opera a thrilling urgency. The Vienna Philharmonic is on top form; the beginnings of "Mir ist so wunderbar", and the Prisoners' Chorus are models of string playing at its absolute best, and the horns in "Abscheulicher!" have to be heard to be believed. This recording gives us a collection of talents at the peak of their powers. --Warwick Thompson
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