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Fidelio
Gré Brouwenstijn brings strength and elegance to the role of Leonore in this Italian-language performance of Fidelio, showing how her large voice could still convey classical refinement. Amedeo Berdini, as Florestan, offers a convincing case for a more Italianate interpretation of the role, while Sesto Bruscantini gives Rocco vocal warmth and a well-drawn dramatic presence. Graziella Sciutti is a delightful Marzelline, adding charm and vocal freshness to the ensemble.
Vittorio Gui brings a distinct perspective to the score. Known for his affinity with German repertoire sung in Italian, his pacing and phrasing depart from more traditional readings. Not all choices may resonate with listeners familiar with the standard performance practice, but the interpretation offers a compelling alternative view.
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4.5
Based on 2 reviews
✓ Top Reviewer
United States
Great Performance, Mostly Very Good Sound!
My heart sank as I listened to the opening of this performance as the sound breaks up and disintegrates. Fortunately, this doesn't last for more than a few moments. The singers (and actors who perform the dialogue) are very convincing. Brouwenstijn is tremendously good as Leonore, unfailingly responsive at the top where so much of the music lies. She seems completely at home in the Italian translation. Sciutti and Badiali are very charming as the secondary couple. Sciutti sings her aria with skill though she leaves out the optional top C at the end of the trio in Act One (maybe it wasn't in the Italian version of the score?) Bruscantini contributes an excellent Rocco, a role he probably didn't do all that often. Manca Serra is an aggressive Pizarro, Clabassi a warm, beautifully sung Fernando. Gui conducts an exciting, well-paced performance. The sound is always listenable, but much better in Act Two. Gui does not play the Leonore #3. Brouwenstijn is heard in Leonore's big aria from Beecham's Teatro Colon performance. You'll want to hear the entire thing: it's that good!
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