Good performance crespin shines!

Crespin is heard here in a role she never got to record commercially. She is in excellent form. The tessitura is high for her and there are a few moments where she sounds like she's not going to make it, but (like Modl) she does, causing her to sound all the more human. Her deep speaking voice works well in the dialogue too. Pribyl also sounds stretched by his music, but he uses it to his advantage. Greindl is a very down-to-earth Rocco and Robinson a frightening Pizarro. Sinclair and Dobson are charming as the secondary couple. Special mention should go to the two solo prisoners, Joseph Ward and Dennis Wicks, for their eloquent singing of their solo lines in Act One. Del Mar paces the opera well without calling attention to himself. The orchestra and chorus are very fine.The sound (except for one brief volume drop in Act One) is very good. I wish Del Mar had included Leonore #3, but there we are. Crespin's singing in the Gluck filler makes one want to hear the entire performance (fortunately available from Opera Depot as well).

Crespin is an ideal Leonore, in superb control of her titanic soprano, glowing in haloed piano and resplendent at full cry. Rather than the heldentenors who came to sing Florestan, Pribyl may be closer to the tenor early audiences would have heard. His lyricism abets him in negotiating the passaggio tessitura, but his throaty production is his undoing at climaxes. Dramatically plausible given Florestan’s imprisonment. Robinson is a world class villain with a volcanic handsome voice. Greindl, ever the thinking, thoughtful singer, is a benevolent and humane Rocco. Sinclair’s soubrette is full and bright. Del Mar gives a reading that breathes, never setting a single tempo on autopilot. Note: Crespin’s bonus selections are recommendation enough to acquire the full “Iphigenie”.

This was the first live opera performance I attended in what has become a life of richly enjoyable opera going. It was a great thrill to know that this recording was available and to be able to hear with a more practiced ear how it was. I have a vivid memory of how Crespin looked in the role of Leonore - not very convincing but in those days Leonores rarely were (see eg photos of Flagstad in the role). But she sounds magnificent and rises to all the dramatic challenges including the strains of the second act. Greindl thoroughly inhabits his role too as does Forbes Robinson, a singer I well remember with a fabulously dark voice. Del Mar's conducting is very fine too, tho' the chorus in those days was nothing like as good as it is today. But the real revelation is how well Crespin could sing a role I would not normally associate with her.

This is an exciting performance of Fidelio. Pribyl is very strained as Florestan but that almost adds to the excitement. Crespin is also taxed in certain arias but she gives an otherwise strong performance. Greindl is Greindl and that means he is excellent. The sound is good FM mono of a live performance. A worthy choice for Crespin fans.

It is interesting recording of Fidelio and a worthy addition to my collection. The cast is quite intriguing: French Crespin, German or Austrian Greindl and Chech Prybil. I was impressed with Crespin's Leonora. She is really excellent in her great aria. Greindl is superb as Rocco. Prybil (Florestan) is ok, but at the and of his aria he struggles and has obvious problems, but I am glad that I have another recording with him, because his recordings are rare. Other roles are all well sung. Conducting (Norman Del Mar) is excellent.

Overall very good; a fine recording of a live performance. To my ear Crespin is outstanding and the other singers very good. It must have been an outstanding live evening. Del Mar's pace is excellent.Kinmont

A fascinating performance. I confess I didn’t know that Régine Crespin had sung the role of Fidelio, although I have her singing the aria on a recital disc. It makes interesting listening. The first act quartet is glorious from her as it sits right in the sweet spot of her voice. As does a lot of the aria. She does both high b’s in the Abscheulicher well but does seem happy to get off them. The top of her voice was often where there could be issues on a less good night. In the second act things are never bad but the tessitura was a challenge for her the night in question and the dungeon quartet and the duet which follows see her working hard to sustain the high line. But it’s Crespin and there is still so much to admire and enjoy. I wouldn’t want to have missed this performance. As Andy says, Pribyl struggles a bit with the end of his aria but he’s ok otherwise. Greindl is marvellous as Rocco and I enjoyed Forbes Robinson as Pizarro. Marzelline and Jacquino are more than acceptable and the conducting and recording too. I expect the main point of interest is Mme. Crespin and for that reason I would recommend this recording.