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Fidelio
Hildegard Behrens never possessed a conventionally beautiful instrument, but the power of the voice and the skill with which she wielded it made for unaccountably thrilling evenings, such as her anguished performance as Fidelio's Leonore. The sound is not great but Behrens' intensity and commitment to the drama shine through the murk. Robert Ilosfalvy is a stentorian-voiced Florestan, and the under-recorded baritone Hubert Hofmann is a nasty, biting Pizarro. Best of all is Renate Lehmann's pert, sympathetic Marzelline, who launches the great act one quartet with a beautifully-spun legato.
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?
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?
Act II
13. Gott! welch' Dunkel hier!
14. Melodram
15. Euch werde Lohn in bessern Welten
16. Er sterbe! Doch er soll erst wissen
17. O namenlose Freude!
18. Heil! Heil sei dem Tag, Heil sei der Stunde
19. Wer ein holdes Weib errungen
14. Melodram
15. Euch werde Lohn in bessern Welten
16. Er sterbe! Doch er soll erst wissen
17. O namenlose Freude!
18. Heil! Heil sei dem Tag, Heil sei der Stunde
19. Wer ein holdes Weib errungen
Customer Reviews
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4.0
Based on 1 review
✓ Top Reviewer
United States
Fine Performance in Recessed Sound
I enjoyed this Fidelio very much despite the recessed sound. It sounds like it was recorded by someone in the audience and thank God for that person! Behrens' voice actually sounds beautiful, especially compared to how it would sound only a decade later when it betrayed the wear-and-tear of singing roles this voice was not meant to sing. Renate Lehnart is a lovely Marzelline, Ilosfalvy a strong, assertive Florestan. All the soloists are good as is the orchestra. Leitner leads with strength and passion; he doesn't include the Leonore #3 on this occasion.The voices are recessed, but the ear adjusts. It's worth the effort in any case. Whoever recorded this missed the opening bars of Act Two.
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