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Fidelio
From her opening spoken lines, Martha Mödl captivates as Leonora. She conveys both the desperation of her plight and the cunning she employs to manipulate Rocco in pursuit of her goal. Unfortunately, her voice in 1957 was not at its best, most notably during her aria, which at times, to be blunt, is challenging to listen to. However, in less vocally demanding passages, she demonstrates why, from an interpretive standpoint, she remains one of the great Leonores of all time. That said, if you are looking for exquisite classical singing, this is probably not the recording for you.
Giuseppe Zampieri delivers a secure performance, though his voice has a noticeable bleat that can be distracting. The rest of the cast is competent, serving the production adequately. Conductor Jascha Horenstein brings energy to the orchestral performance, delivering a spirited reading that includes a rousing Leonore No. 3.
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!.. Komm, Hoffnung
10. O welche Lust
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!.. Komm, Hoffnung
10. O welche Lust
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! - Doch er soll erst wissen
18. O namenlose Freude!
19. Leonore No. 3
20. Heil sei dem Tag
21. Des besten Königs Wink und Wille
22. 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! - Doch er soll erst wissen
18. O namenlose Freude!
19. Leonore No. 3
20. Heil sei dem Tag
21. Des besten Königs Wink und Wille
22. Wer ein holdes Weib errungen
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5.0
Based on 2 reviews
✓ Top Reviewer
United States
Exciting Performance in Very Good Sound!
WWII had been over for 15 years when this performance was given, but the sense of joy in liberation runs strongly through the entire opera. Horenstein manages to galvanize his forces to give as much as they can and they do.By 1957 Mödl's voice was beginning to show the strain of singing the hoch-dramatisch repertoire with her unique high mezzo sound. Nevertheless she allows nothing to get in her way of finding the character in the music. She makes the high Bs, God bless her, sometimes just, but it all adds to her mighty determination. Other singers may give us more vocal glory, Mödl shows us the Truth.Zampieri sings well enough (I agree with Andy's assessment above that his timbre could be rather bleating). Ernster's rather mealy, occasionally unsteady tone never provided bel canto pleasure, yet I can hear why he was so popular at the Met and elsewhere. His emotional reaction to the arrival of Don Florestan in the prison scene is truly heartfelt and brought tears to my eyes. Ego sings Pizarro with firm, pointed tone. He makes a worthy adversary. Vlachopoulou has a rather vinegary tone though she and her Jacquino, Pantzinakos, fit in well with the ensemble. Markelos sings Fernando's music with a beautiful baritone. Horenstein cuts Rocco's Gold aria in the first act (a traditional cut at the time), but includes a stirring account of the Leonore Overture #3. The sound is mostly very good, barring some static during Leonore's big aria and a change in quality during "O namenlose Freude!" (the sound becomes slightly muffled).Recommended to all Mödl fans and to those who love the opera.
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✓ Top Reviewer
United States
Correction to Below
WWII had been over for 12 years when this performance was given, not 15 (typo).
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