Beethoven: Fidelio - Jones, King, Crass, Adam, Popp, Dallapozza, Nienstedt; Bernstein. Wien, 1970
$16.95
Description:
Pros:
- In her earlier years, Gwyneth Jones emerged as perhaps the ideal Leonore, capturing both the dramatic depth and classical poise required for Beethoven's only opera. Her voice—already brimming with dramatic potential—remained agile and credible within the classical repertoire, making her portrayal both powerful and authentic.
- Opposite her, James King delivers a masterclass in vocal ease, his thrilling stentorian tone and effortless production lending a heroic weight to his performance
- The supporting cast shines as well: Lucia Popp brings a delightful energy to Marzelline, her bubbly charm perfectly offsetting the opera's weightier themes, while Franz Crass lends a warm and avuncular presence as Rocco, grounding the story with his rich bass.
- Under Leonard Bernstein's direction, Beethoven's monumental score soars. Bernstein highlights the work's vast emotional scope and architectural brilliance, bringing to life the triumph of love, justice, and freedom that lies at the heart of Fidelio.
Cons:
- None to mention.
This performance replaces OD 10175-2.
In Stereo
OD 12144-2
Listen to a Sample:
Adam or Berry?
According to the electronic list of performances of Wiener Staatsoper, the evening 9th had Adam as Pizarro and Ridderbusch as Fernando. At 11th the cast included Berry and Nienstedt. My copy sounds like Berry and Nienstedt. Thus, the date might be mistaken. However, thrilling performance.
Fredback
I still have not received the shipment and it consisted of inserts for the food the fidelio with Jones and king that I bought I Do not wish to wait any longer so please send them on my email....thanks...Please confirm
A bit disappointing
Can't fault the singers and Leonora No.3 is thrilling. But Bernstein's conducting is not to my taste. Romantically stretched tempi, e.g. the quartet, the intro. to the prisoners chorus (marked Allegro con moto in the score), the slower sections of Abscheulicher and In des Lebens, at other times manically fast and overloud. All of which cancelled out the excellency of the singing. In addition all the dialogue is very hard to decipher though the brief moving dialogue before In namenlose Freude is cut!
A bit disappointing
Can't fault the singers and Leonora No.3 is thrilling. But Bernstein's conducting is not to my taste. Romantically stretched tempi, e.g. the quartet, the intro. to the prisoners chorus (marked Allegro con moto in the score), the slower sections of Abscheulicher and In des Lebens, at other times manically fast and overloud. All of which cancelled out the excellency of the singing. In addition all the dialogue is very hard to decipher though the brief moving dialogue before In namenlose Freude is cut!
