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Used: Very Good | Details
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Condition: Used: Very Good
Comment: 2-disc set + libretto. Not ex-library or rental. Very minimal wear to slipcase, jewel case and booklet, both discs show only very minimal superficial signs of use that do not affect quality of play. Not a cut-out.
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  • Beethoven: Fidelio / Leonore Overture No. 2
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Beethoven: Fidelio / Leonore Overture No. 2

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Audio CD, August 13, 1996
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$1.65 $2.14

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Disc 1:

Song TitleArtist Time Price
listen  1. Fidelio/OvertureSir Colin Davis 6:54$0.99  Buy MP3 
listen  2. Fidelio/Act I/Jetzt Schätzchen, jetzt sind wir allein (No. 1 Duet)Sir Colin Davis 4:59$0.99  Buy MP3 
listen  3. Fidelio/Act I/O wär ich schon mit dir vereint (No. 2 Aria)Elizabeth Norberg-Schulz;Sir Colin Davis 5:10$0.99  Buy MP3 
listen  4. Fidelio/Act I/Mir ist so wunderbar (No. 3 Quartet)Sir Colin Davis 5:20$0.99  Buy MP3 
listen  5. Fidelio/Act I/Hat man nicht auch Gold beineben (No. 4 Aria)Matthias Hölle;Sir Colin Davis 5:03$0.99  Buy MP3 
listen  6. Fidelio/Act I/Gut, Söhnchen, gut, hab immer Mut (No. 5 Terzett)Sir Colin Davis 6:20$0.99  Buy MP3 
listen  7. Fidelio/Act I/March (No. 6)Sir Colin Davis 3:07$0.99  Buy MP3 
listen  8. Fidelio/Act I/Ha, welch ein Augenblick (No. 7 Aria)Günter von Kannen;Sir Colin Davis 3:42$0.99  Buy MP3 
listen  9. Fidelio/Act I/Jetzt, Alter, jetzt hat es Eile (No. 8 Duet)Sir Colin Davis 4:46$0.99  Buy MP3 
listen10. Fidelio/Act I/Abscheulicher, wo eilst du hin? (No. 9 Rec. & Aria)Deborah Voigt;Sir Colin Davis 9:02$0.99  Buy MP3 
listen11. Fidelio/Act I/O welche Lust, in freier Luft (No. 10/1 Finale)Sir Colin Davis 7:59$0.99  Buy MP3 
listen12. Fidelio/Act I/Nun sprecht, wie gings? (No. 10/2)Sir Colin Davis 5:08$0.99  Buy MP3 
listen13. Fidelio/Act I/Ach Vater, Vater, eilt (No. 10/3)Sir Colin Davis0:42$0.99  Buy MP3 
listen14. Fidelio/Act I/Verwegner Alter (No. 10/4)Sir Colin Davis 1:52$0.99  Buy MP3 
listen15. Fidelio/Act I/Leb wohl, du warmes Sonnenlicht (No. 10/5)Sir Colin Davis 4:29$0.99  Buy MP3 

Disc 2:

Song TitleArtist Time Price
listen  1. Fidelio/Act II/Gott, welch Dunkel hier (No. 11 Introduction & Aria)Ben Heppner;Sir Colin Davis11:57$0.99  Buy MP3 
listen  2. Fidelio/Act II/Melodrama (No. 12/1)Sir Colin Davis 1:34$0.99  Buy MP3 
listen  3. Fidelio/Act II/Nur hurtig fort, nur frisch gegraben (No. 12/2 Duet)Sir Colin Davis 5:56$0.99  Buy MP3 
listen  4. Fidelio/Act II/Euch werde Lohn in besseren Welten (No. 13 Terzett)Sir Colin Davis 7:25$0.99  Buy MP3 
listen  5. Fidelio/Act II/Er sterbe! (No. 14/1 Quartet)Sir Colin Davis 4:29$0.99  Buy MP3 
listen  6. Fidelio/Act II/Es schlägt der Rache Stunde (No. 14/2)Sir Colin Davis 1:12$0.99  Buy MP3 
listen  7. Fidelio/Act II/O namenlose Freude (No. 15 Duet)Sir Colin Davis 2:47$0.99  Buy MP3 
listen  8. Fidelio/Act II/Heil sei dem Tag, heil sei der Stunde (No. 16/1 Finale)Sir Colin Davis 2:15$0.99  Buy MP3 
listen  9. Fidelio/Act II/Des besten Königs Wink und Wille (No. 16/2)Sir Colin Davis 8:33$0.99  Buy MP3 
listen10. Fidelio/Act II/Wer ein holdes Weib errungen (No. 16/3)Sir Colin Davis 3:54$0.99  Buy MP3 
listen11. Leonore Overture No. 2 in C major, Op. 72Symphonieorchester des Bayerischen Rundfunks15:46$0.99  Buy MP3 

Product Details

  • Orchestra: Bavarian Radio Symphony Orch. & Chorus
  • Conductor: Colin Davis
  • Composer: Ludwig van Beethoven
  • Audio CD (August 13, 1996)
  • Number of Discs: 2
  • Label: RCA
  • ASIN: B000003FZJ
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #415,362 in Music (See Top 100 in Music)

Editorial Reviews

This is a terrific performance of a supreme if problematic masterpiece. Basically a "rescue" opera, it tries to combine the light style of the Singspiel, complete with spoken dialogue, with the lofty moral tone of heroic drama; moreover, Beethoven, notorious for taxing instruments and players to the utmost, was even more oblivious to the limitations of the human voice: some passages in Fidelio are virtually unsingable. All these admittedly justifiable criticisms are swept away by the grandeur, power, melting lyricism, and sheer incomparable beauty of the music: encompassing every emotion from the height of ecstasy to the depth of despair, it stops the breath, chills the blood, and breaks the heart. This recording opens with the Fidelio Overture and adds Leonore No. 2 at the end; cast, chorus and orchestra are first rate, balance and pacing exemplary. Voigt and Heppner are spectacular, easily surmounting all technical difficulties, their voices soar with thrilling power and intoxicating radiance. This Leonore and Florestan are truly heroic; indeed Heppner sounds almost too healthy for the role. --Edith Eisler

Customer Reviews

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Most Helpful Customer Reviews

9 of 10 people found the following review helpful By Gapare Pacchierrotti on January 6, 2000
Format: Audio CD
I have to admit that I like the recording with Jessy Norman better, and feel it has more to offer, but that is because it offers the incredible voice of Jessye Norman. That said, I must admit this is a wonderful recording, and well worth the money. I have many recordings of this work, even a few of its original version called Leonore. Beethoven much improved the work between the time of its original writing and 1814 when the Fidelio version was written.
Everything about this recording is moving to the extreme! The voices work well together, and the orchestra is there with them, not just an accompaniment, nor a filler, nor is it more prominent than the voice as in the Bernstein recording ( which has very inferior singers ). Everything here works to a wonderful whole. Heppner is just too good to be true, and too healthy sounding for a man in prison a few years, but one has to admit, who really cares when the singing is so wonderful. There is no way on earth Voigt could convince anyone she is a young man ( Norman has a darker sound that has a sort of Masculine timbre to it that works better ), but then again, who really cares when the singing is so wonderful. Putting the Leonore Overture #2 at the end I think is a good thing. It is often played during the scene break of the last act, but that breaks up the very heady drama we have witnessed before our eyes. I much prefer this reading and having it as an addition at the end.
Beethoven's music is as wonderful as ever, and he wrote this incredible work when he was deaf. I would recommend buy this recording. It is just so good.
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5 of 5 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on September 24, 2005
Format: Audio CD
Just before the major record companies jumped ship on opera recordings, three digital Fidelios were issued: this one from RCA, another under Dohnanyi on Decca, and a version with Jesseye Norman under Haitink on Philips. Each turned out to be a frustrating disappointment.

The Dohnanyi set had an overparted Leonore and boring conducting. Jesseye Norman was paired with a puny Florestan and suffered from Haitink's listless pacing. This set is probably the best of the three, because Heppner is truly great as Florestan, the best tenor in the role since Jon Vickers, who crowns both the classic Klemperer set and the almost-as-good Karajan, both on EMI. If only he could be spliced into Norman's commanding (if diva-scented) performance as Leonore.

Sadly, Colin Davis, who went through a long stretch of dull conducting in Bavaria, is fairly listless himself on this occasion. The bigger problem for me is Voigt, who doesn't have a Leonore voice. She has gleaming top notes but a gargly, weak lower register--and Leonore must sing a lot in that register. She also has a generic conception of the role dramatically, with no special fire or inner urgency.

All in all, this is the best Fidelio since the great ones came out decades ago, but except for Heppner, no one involved rivals the classic sets.
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Format: Audio CD
I think a bit more highly of this recording than does Santa Fe Listener, but I think he's right about Voigt and Davis: Voigt has a focused, bright sound that doesn't seem right for Leonore. We need more warmth, and I think a solider lower voice would project that -- but given the voice she has, she sings pretty well, even if the effect isn't as engaging as it ideally should be. And with Colin Davis, the orchestra sounds fine, but little tension is generated. In the "singspiel"-ish first scenes, that doesn't matter much, but when Pizarro enters, we need something more, and we need more from Gunter von Kannen too, who seems light of voice for Pizarro and doesn't generate much menace. It's his performance most of all that weakens the appeal of this set for me as far as the drama is concerned. Michael Schade and Elizabeth Norberg-Schulz sound apt as Jaquino and Marzelline, and Robert Holle makes a very good impression as Rocco. All the singers do well by the spoken dialogue. Ben Heppner's secure and beautiful singing as Florestan is by itself almost worth the price of the set . . . BUT

And here's my real beef: all of the singers, except possible Holle, suffer from poor decisions about voice placement in the aural picture. Listen to Heppner in his big aria that opens the second act -- why isn't the voice given a bit more presence? Listen to the soloists' placement in "Euch werde Lohn" and they are much more effectively positioned. Then listen to Heppner again in the final scene -- he's even further back than he was in the big solo aria. It's distracting to have the same singer in three different places in the sound-picture within a relatively short space of time.
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By A fun reader on October 28, 2014
Format: Audio CD
What a cast!!!!!
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2 of 8 people found the following review helpful By Jasper Jimenez on March 15, 2000
Format: Audio CD
I think that this recording is pretty good. There are little bitty problems I have here. One, is that I have nver heard such low voices in the main roles of "Leonore" and "Florestan", the little role of Don Fernando, (No offense) sounds like he is stuttering, the Don Pizzaro, sounds to much like he is talking, while he is singing. The Marzelline, Jaucquino, and the Rocco roles are absolutely beatiful! And lastly, the three arias of the act, no.2, no.3, no.4, no.5, no.6 no.7 no.8, no,9,and the ouverture, were played a little to fast, leaving the dialog enough time to fill up the time capacity. All in all, the recording, was great but, the finales and all of Act Two was played to slowly, and the Famous Quartetto in the second act, and the famous finale of the first act, was played to slow. You see, I classify my fav. conductors by whom they play, Leonard Bernstein and Herbert Von Karajan are the only two who can play Beethoven at the right tempo, and everything, and Sir Colin Davis, can play Mozart really well. All in all, the Opera was a good recording
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