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Fidelio
This 1947 performance of Fidelio undoubtedly carried deep emotional resonance for British audiences just emerging from the devastation of World War II. Even more striking is that the cast—largely composed of German singers—delivered a powerful performance in a work so closely tied to themes of justice, liberty, and reconciliation. While it's difficult to fully grasp the emotional weight of that evening without having lived through the era, what is clear is that the musical results were exceptional.
Hilde Konetzni is a radiant Leonore, her silver-toned soprano conveying both hope and unwavering resolve. She floats over the orchestra with Mozartian grace and soars with Wagnerian power, embodying the character's moral and emotional core. Elisabeth Schwarzkopf brings charm and vocal freshness to Marzelline, while Paul Schöffler offers a chillingly charismatic Pizarro—both menacing and oddly magnetic. Clemens Krauss conducts with clarity and urgency, keeping the drama taut and the pacing crisp.
The sound is consistent with the era—serviceable, though understandably dated—and some music is missing from the Act I finale. Nonetheless, the historical and artistic value of this performance makes it a compelling listen.
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. Hat man nicht auch Gold beineben
6. Gut, Söhnchen, gut
7. Marsch
8. Ha, welch ein Augenblick!
9. Jetzt, Alter, jetzt hat es Eile!
10. Abscheulicher! Wo eilst du hin?
11. O welche Lust, in freier Luft
12. Nun sprecht, wie ging's?
13. Ach, Vater, Vater, eilt!
14. 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. Hat man nicht auch Gold beineben
6. Gut, Söhnchen, gut
7. Marsch
8. Ha, welch ein Augenblick!
9. Jetzt, Alter, jetzt hat es Eile!
10. Abscheulicher! Wo eilst du hin?
11. O welche Lust, in freier Luft
12. Nun sprecht, wie ging's?
13. Ach, Vater, Vater, eilt!
14. Leb' wohl, du warmes Sonnenlicht
Act II
15. Gott! Welch Dunkel hier!
16. Wie kalt ist es in diesem unterirdischen Gewölbe!
17. Nur hurtig fort, nur frisch gegraben
18. Euch werde Lohn in bessern Welten
19. Er sterbe! Doch er soll erst wissen
20. O namenlose Freude!
21. Heil sei dem Tag
22. Wer ein holdes Weib errungen
16. Wie kalt ist es in diesem unterirdischen Gewölbe!
17. Nur hurtig fort, nur frisch gegraben
18. Euch werde Lohn in bessern Welten
19. Er sterbe! Doch er soll erst wissen
20. O namenlose Freude!
21. Heil sei dem Tag
22. Wer ein holdes Weib errungen
Customer Reviews
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4.0
Based on 2 reviews
✓ Top Reviewer
United States
Excellent Performance in Good Sound!
This performance was given by the Vienna State Opera during the same visit the classic Salome with Maria Cebotari was performed (OD #11964). Krauss had the unique ability to inspire his musical forces. Hilde Konetzni began her career long before WWII began (she was the sister of Anny Konetzni) and her lyric instrument, while still beautiful, was showing some signs of wear-and-tear. The high Bs of "Abscheulicher!" don't come easily to her (she flats the first one and just manages to goose the penultimate one up to pitch). What Konetzni offers instead is a warmth of spirit and humanity: listen to her defence of Florestan or her movingly uttered "Nichts, nichts, mein Florestan!" a few moments later. It's easy to hear why she was a favorite of Furtwängler and other conductors.Karl Friedrich was an excellent musician who primarily sang in Europe. His Florestan is beautifully sung with easy high B-flats and a sense of nobility not often heard. Weber sings very well with a genial sense of humor in the Gold aria. His cry of relief at the arrival of Don Fernando is startling in its vehemence. Schöffler is a frightening, sexy Pizarro. Schwarzkopf and Klein are terrific as the secondary couple. A pity we're not told who the two Prisoners or Don Fernando are.The basic sound is good. In addition to the incomplete Act One finale, the orchestral introduction to Act Two is missing; the music picks up shortly before Florestan's entrance. Leonore #3 is not played in the second act.
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✓ Top Reviewer
Slovenia
Martin Ramor
This is a very good recording of Fidelio. Ludwig Weber is great Rocco, full of empathy, with rich and beautiful basso. Hilde Konetzni sing well as Leonora. She has beautiful tone with great sense for drama. Karl Friederich, who is a rarity on CDs, is excellent Florestan. His great aria from the second act is full of emotions and suffering. Schoeffler is very good Pizarro. Klein and Schwarzkopf are both lovely in their roles. Conducting, orchestra and chorus are wonderful as they should be.
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