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Fidelio
The exact context of this performance remains somewhat unclear. It took place before the reopening of the Wiener Staatsoper, and all spoken dialogue—along with the Act II Melodram—is omitted, though the orchestral accompaniment is still performed. What does come through unmistakably is the sense of catharsis shared by performers and audience alike in the wake of World War II.
Martha Mödl is captured at her peak, singing with her characteristic abandon while maintaining striking control over her distinctive instrument. Wolfgang Windgassen brings a youthful brightness to Florestan, shaping the character with both elegance and emotional weight. Elisabeth Schwarzkopf and Rudolf Schock offer refined contributions as Marzelline and Jacquino, respectively.
The performance's true anchor is Herbert von Karajan, whose conducting reveals insight at every turn. The choral passages, shaped with care by Karajan and the Wiener Singverein, are especially moving and stand as some of the most memorable moments in the performance.
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!... Komm, Hoffnung, laß den letzten Stern
11. O welche Lust
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!... Komm, Hoffnung, laß den letzten Stern
11. O welche Lust
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. Nur hurtig fort, nur frisch gegraben
17. Euch werde Lohn in bessern Welten
18. Er sterbe!
19. O namenlose Freude!
20. Heil! Heil sei dem Tag
21. Wer ein holdes Weib errungen
16. Nur hurtig fort, nur frisch gegraben
17. Euch werde Lohn in bessern Welten
18. Er sterbe!
19. O namenlose Freude!
20. Heil! Heil sei dem Tag
21. Wer ein holdes Weib errungen
BONUS
22. Abscheulicher!
Fidelio. Athens, 1957
Fidelio. Athens, 1957
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4.7
Based on 3 reviews
✓ Verified Buyer
Netherlands
✓ Top Reviewer
United States
Great Performance, Good Sound!
This concert performance performed without the dialogue went missing for years until it resurfaced about 20 years ago. The cast is splendid. Modl may be stretched by the title role's high tessitura, but she makes it, her courage and determination shining through the character. Schwarzkopf and Schock are luxurious casting for the "downstairs" couple and Edelmann and Metternich sing their roles to the manner born. Karajan takes everything rather quickly, but that just serves to boost the tension level. The chorus and orchestra serve him and the composer very well.The sound is pitched correctly, but while listenable won't win any awards. The last six minutes or so of Act One were lost in transmission so the missing section was seamlessly spliced in from Furtwangler's performance of the same year. Modl and Schock are carried over though the other singers are different. As a bonus, Andy gives us Modl's rendition of the big "Abscheulicher!" aria from 1957. She is very intense and makes it by the skin of her teeth, the heavy roles for which her voice wasn't naturally suited having taken their toll.
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✓ Verified Buyer
Austria
Concert
Karajan them was chief conductor of Wiener Symphoniker and had a cycle in the Musikverein. Thus, some operas were performed at Musikverein instead of Theater an der Wien or (yet not reopened) Staatsoper. As far as I know, also Aida and Carmen were performed in that setting.
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