Here are the items that we found.
Fidelio
In the interests of full disclosure, I will lead with the fact that this performance is from 1937, when recording from the radio was still in its infancy. Although there are stretches of perfectly listenable music, the biggest flaw is that there is a good deal of distortion at the upper ranges of volume. This particularly affects Anny Konetzni’s colossal soprano voice. So why would I release it, you ask? Well, normally it wouldn’t have made it, but a complete performance of Fidelio conducted by Erich Kleiber, replete with the Leonore #3 overture is such an important document that I didn’t have the heart to withhold it due to some (pretty substantial) flaws in the sound. So I invite you all to view this as you would an ancient Roman Fresco. If you listen carefully you will hear an incredibly spirited performance from Kleiber as well as some astonishing singing from Konetzni. Konetzni, despite having an enormous instrument, sounds as if she would be just as at home singing the Countess in Le Nozze di Figaro. Additional kudos go to Koloman von Pataky for his lyrical Florestan. But don’t say I didn’t warn you about the sound…
Track List
Act I
1. Ouvertüre
2. Jetzt, Schätzchen, jetzt sind wir allein
3. O wär ich schon mit dir vereint
4. Mir ist so wunderbar
5. Gut, Söhnchen, gut, Hab immer Mut
6. Marsch
7. Ha, welch ein Augenblick!
8. Jetzt, Alter, jetzt hat es Eile!
9. Abscheulicher! Wo eilst du hin?
10. O welche Lust, in freier Luft
11. Nun sprecht, wie ging's?
12. Leb' wohl, du warmes Sonnenlicht
2. Jetzt, Schätzchen, jetzt sind wir allein
3. O wär ich schon mit dir vereint
4. Mir ist so wunderbar
5. Gut, Söhnchen, gut, Hab immer Mut
6. Marsch
7. Ha, welch ein Augenblick!
8. Jetzt, Alter, jetzt hat es Eile!
9. Abscheulicher! Wo eilst du hin?
10. O welche Lust, in freier Luft
11. Nun sprecht, wie ging's?
12. Leb' wohl, du warmes Sonnenlicht
Act II
13. Gott! Welch Dunkel hier!
14. Wie kalt ist es in diesem unterirdischen Gewölbe!
15. Nur hurtig fort, nur frisch gegraben
16. Euch werde Lohn in bessern Welten
17. Er sterbe!
18. O namenlose Freude!
19. Leonore #3
20. Heil sei dem Tag
21. Wer ein holdes Weib errungen
14. Wie kalt ist es in diesem unterirdischen Gewölbe!
15. Nur hurtig fort, nur frisch gegraben
16. Euch werde Lohn in bessern Welten
17. Er sterbe!
18. O namenlose Freude!
19. Leonore #3
20. Heil sei dem Tag
21. Wer ein holdes Weib errungen
Customer Reviews
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4.6
Based on 5 reviews
✓ Top Reviewer
United States
Excellent Performance in Challenging Sound!
Andy is very honest about the sound on this set. The distortion is annoying, but once the ear adjusts the sound is listenable although I wouldn't recommend this set to anyone who isn't accustomed to early radio sound. I wish the distortion wasn't there, but there we are. The pitch is correct though and given the challenges of preserving a recording like this, that's an achievement.Kleiber drives his forces to the point of frenzy. There is an urgency here uncommon in other performances of this opera. The playing of the Leonore #3 in the second act is worth the price of admission alone. Konetzni lives up to her reputation with her huge, colorful voice. Like her sister Hilde she is top note challenged. She fakes her high Bs in the big aria expertly; if you want terrific high notes you must look elsewhere (she's good up to B-flat). Von Pataky is a wonderful Florestan with his beautiful, lyric timbre. Joel Berglund is a frightening Pizarro who sings extremely well. Editha Fleischer is a charming Marcelline (she sang Hänsel in the first 1931 Met broadcast) and Karl Laufkötter is a vivid Jaquino (were they on loan from the Met?). Rocco's aria in Act 1 is cut (a traditional cut at that point). The chorus and solo prisoners sing in Italian.This is only for aficionados of the opera or the performers, but for those who can tolerate the sound it's worth the effort.
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Denmark
Wonderful historic Live
Some distortion of sound, but strong performances not to be found elswhere. Especially Joel Berglund. What a voice
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Japan
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Germany
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Austria
