The combination of musical exactitude and stylistic taste made Beethoven a particularly good fit for conductor Lorin Maazel. He brings both qualities to this performance of Fidelio, while investing the score with the infectious optimism that allows the opera to come fully to life.

In the title role, Hilde Zadek brings a formidable technique, though her voice lacks the degree of Classical polish that is my preference in this opera. Ernst Kozub, however, proves an ideal Florestan, approaching his daunting opening aria with the fearless virility of a true Wagnerian tenor while displaying vocal control that would be the envy of many a Mozart specialist.

Boris Christoff, a noted Rocco, here takes the role of Pizarro and demonstrates that, despite his impressive credentials as one of the leading basso profundos of his day, he could navigate a baritone role with ease. Graziella Sciutti's talents are somewhat wasted on Marzelline, but she brings her customary sparkle to the part, lending the character's domestic subplot with Jacquino greater interest.