Customer Reviews

Beethoven - Fidelio / Janowitz, Popp, Kollo, Sotin, Fischer-Dieskau, Jungwirth, Dallapozza, Wiener Phil., Bernstein

5 star:		(5)
4 star:		(3)
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What a wonderful recording. Bernstein does a magnificent job conducting this stellar cast. The sound is top notch, and the singing sounds very well balanced. Lucia Popp and Gundula Janowitz SHINE. The characterization of the male principals may not be menacing or tortured, but Hans Sotin and Rene Kollo sing beautifully. Each and every one of the singers seems to place their notes perfectly and they sound like exclamation marks of the orchestra. I know this doesn't sound fantastic, but it ALL, under Bernstein's command, comes together so tightly with pacing and structure, that I feel swept into a heroic universe, like I am hearing Beethoven at his greatest! I do have one disparaging comment, perhaps aesthetically incorrect, but I can't stand hearing dialog in opera recordings! It completely halts the momentum of the music. In this recording there is only a few minutes of dialog, separately tracked, which I program out. Humor me and try it, and see if you feel that Fidelio improves without the dialog (sincere apologies to purists and to Beethoven). There is included a very good booklet with an insightful interview with Bernstein.

Beethoven was not the opera composer par excellance, but he was the greatest composer ever, and that's enough for anybody not to ignore his contribute to opera. Fidelio is a strange opera; it lies between Classic opera (Mozart) and German romantic drama (Wagner). Somebody said it's an Italian opera buffa in German. Leonard Bernstein is the only director who could match all these different styles, and record the "right" Fidelio.

Whatever else one says about this recording no one has ever had a better orchestra at his hand for Fidelio. But Bernstein also has a stellar cast and an imaginative, deeply considered approach to the work - yes, it is designed for maximal effect, as other reviewers have pointed out, but that does not need to compromise the depth and cumulative power of the work, and in Bernstein's hand I don't think it does. Add to that DG's atmospheric, clear and full-bodied recording (though the voices are sometimes a little claustrophobic) - one of the better DG efforts from the period - and you have one of the absolute top sets in the catalogue. His approach is almost surprisingly intimate (at least if compared to Klemperer, which is the classic), but there is plenty of drama to be sure, lots of fireworks (and even an added explosion or two, if this were an action movie). There are also a couple of idiosyncratic effects thrown in, especially increases and decreases in tempo, but most of them work very well (the (second) finale is very quick but quite exhilarating and powerful).

Overall the performance is beautifully paced, the rhythms are sharp and the colors variegated. But in addition the wonders created by the orchestra (and not to forget the riveting choral contributions) Bernstein also provides the best possible support for his singers, and they generally exploit the opportunities. Lucia Popp is vibrant yet sweet-toned and excels at creating nuances of mood and feelings for Marzelline. Janowitz's voice is of richer and perhaps more inherently colorful, less exuberant and more introvert (as befits her role), but wonderfully expressive. There may be more dramatic interpretations in the catalogue, and Janowitz may not supersede all the competition, but I found her take on the role extremely compelling.

Rene Kollo's Florestan is superb in the quieter parts, but I am less sure about the scenes that require more power where the voice starts to wobble. I hasten to add that he is overall pretty good, but will at the same time admit that there have been a stronger performances of the role, and he must unfortunately be deemed one of the main drawbacks of the set as a whole. Hans Sotin is a thoroughly impressive Pizarro, on the other hand, strikingly characterized and strong-voiced with a huge expressive range and equally convincing when imposingly authoritative as when he is gleefully cruel. Manfred Jungwirth is a deeply impressive and sympathetic Rocco, though he is perhaps a little too likeable, and Adolf Dallapozza is sharp and full of character. The smaller roles are excellent as well (Fischer-Dieskau's splendid Don Ferrando in particular).

As a filler we get the third Leonore Overture - in fact, it is given as an epilogue rather than a coupling, which creates a very strange effect; Bernstein does not shy away from emphasizing the darkness and gloom of the overture, and it sits admittedly rather poorly with the rejoicing finale. Overall, however, and despite a few relatively minor caveats, this is an excellent set containing much excellent singing, some slightly questionable but admittedly effective tempo choices, wonderful orchestral and magnificent choral performances. Maybe this isn't the one and only Fidelio to have, but it is surely a glorious experience that can be recommended with plenty of enthusiasm.

I would like to share some wonderful information with Amazon shoppers. Bernstein has another performance recorded live in 1970 in Rome, which has an intensity that surpasses his 1978 DG performance.

The Rome 1970 version is a wonderful live performance. It has an electricity which is missing in most studio versions. Birgit Nilsson there is far superior to her performance for Maazel (Decca). Her voice is warm and intense here whereas she is steely and frigid in Maazel. Birgit Nilsson there is far superior to Janowitz in Bernstein's later version. Janowitz's lyrical soprano sound too anemic - it lacks power. You don't get any kick out of listening too Janowitz. Yes, her voice is pure and beautiful. She sings with commitment and feeling. The problem is that this is FIDELIO. you don't just want to hear beautiful emotions and feeling, you want a DRAMATIC SOPRANO to pin you back in your seat!!!!!! Nilsson's legendary voice has the power of a nuclear plant. She does exactly that. When she hits those top notes, you are literally blown away. Ludovic as Florestan is also superior to Rene Kollo. Ludovic sounds far more at his wits end than Kollo and Ludovic's voice has more power. There is far more intensity and emotion here. Helen Donath is wonderful as Marzelline. Lucia Popp may sing more beautifully, but I think Helen Donath sings with greater intensity and soul. You kind of feel what she is thinking. Here it's a close call between Lucia Popp and Helen Donath. Theo Adam as Don Pizarro is far superior to Hans Sotin for Bernstein(DG). Theo Adam has more venom and intensity. The other singers too sing with an intensity which is not found in Bernstein's more popular 1978 DG version. The only drawback of the other version is that the recorded sound is not too good. It is a live performance. And some details are lost in the recording. But what is lost in detail is made up for by the intensity of the singers. I give 5 stars for the 1970 performance. The recorded sound should be 3.5 stars.For this version, I give 4.5 stars for performance and 4.5 stars for recorded sound (4.5 stars because I find the revebrant recording annoying - it is as if the performers were performing in an empty hall - you don't want that feeling).

Ultimately, the best version is still Klemperer (EMI) in which Christa Ludwig intensity blows every other recorded Leonore away - the power of a dramatic soprano mixed with raw emotion and intensity. But this Bernstein is certainly an outstanding performance with the kind of soul and intensity seldom found in studio recordings. The Klemperer, of course, is the exception that proves the rule.

If you are planning on Bernstein, I think the other version would satisfy you more than this version for Deutsche Grammophon(DG). And it's far cheaper too. Yes, you sacrifice clarity, but ultimately, you want a Leonore to pin you back to your seat and you want singers with raw emotion and intensity. The other version of Bernstein's Fidelio is like being involved in an action movie, the thrill is there but in the process, some details become fuzzy. Bernstein's later DG version is like reading a book. Everything is more or less crystal clear. But you lose some of the thrill of being in the action. Finally, there are some bonus tracks in this CD set - some performance from a live recording of Fidelio by Erich Kleiber in 1956, with Birgit Nilsson again. It is interesting to see how Nilsson has developed between 1956 and 1970.

Remember: in classical music, cheaper does not imply inferior. Don't discount the Rome version. Enjoy the 1970 Rome superb performance at an incredibly low price. You may enjoy it so much that you don't see a need to buy Bernstein's 1978 DG version. Also, Remember, without a DRAMATIC SOPRANO in the central role of Leonore, you lose some kick out of Fidelio.

The other Rome version is under Label: Gala - #557. Audio CD (September 25, 2001) ASIN: B00005Q6K7

Just type <Fidelio Bernstein> do a search and you'll find it.

Immediately with the overture, you can tell what type of experience this recording will be: tempi and dynamics designed for maximum shock value, impeccable performance together with an unmistakeable 'canned' studio atmosphere, but at the same time moments of true spiritual depth. Admittedly some of this has to do with DG's engineering style in the 70's which, to put it mildly, was eccentric, but alot if not most was Bernstein's responisibility, both good and bad. Lenny was obviously devoted to this work (you don't even have to hear this, just read his carefully thought out remarks in the liner notes), but I think that it manifested itself in his sacrificing the long line in favor of the passing moment. As a result, we get long stretches of pretty unremarkable music making coupled with moments of great passion. These almost compensate, except that because they are taken out of context they lose their meaning (Beethoven was not Wagner; Fidelio is far more of a symphonic work than any Wagner opera, in spite of the lack of leitmotiv). The most prominent example of this is the finale of Act II, which for me seems to come out of nowhere.
Aside from the conducting and recording quality mentioned, the singing is very fine. I personally don't understand why so many seem to react so strongly against Kollo: there are better performances out there, but he does just fine. The rest of the cast is very good, although I have one complaint that I hesitate to make: I feel Janowitz was not ideally cast here. Don't misunderstand, I've had a love affair with her voice for several years that's still going strong, but I don't feel it fits Leonora very well. Janowitz's voice is characterized by a fragile beauty even when she sings with great power, which makes me feel that Leonora would have fallen to pieces before the action started.
Summary: plenty of theater from Bernstein, moments of exaltation, clear although unnatural sound, and fine although not ideal singing.

The Bargain set under Naxos by Halasz with lesser known singers - Inga Nielsen as Leonore, Gosta Winbergh as Florestan, Kurt Moll as Rocco - is, in my opinion, more recommendable than Bernstein's set. Fans of Janowitz, Popp, Kollo, Bernstein and company would want this set. But if you are looking for just one Fidelio set, I would recommend Halasz's set. My top choice is, without doubt, Klemperer's classic Fidelio. But I think Halasz's set works too as a sole representative in your library. This set has more famous names but the other set is overall more exciting and better conducted, not to mention - it's cheaper (about 1/3 the price of this set). I know it sounds incredible that this prestigious set from Deutsche Grammophon should be upstaged by a budget set from Naxos but I think it is true, at least in my opinion. I have both sets so it makes little difference to me. But for buyer's who want to knoe Fidelio without paying too much, Halasz version is superb. Of course, if you pay a few dollars more, you can get Klemperer's classic set. Klemperer's set is more monumental and dramatic and his tempi is sometimes slower. Halasz uses lighter voiced singers and adopts faster speeds. I don't agree with Bernstein's tempi - it is sometimes too slow and at the end, he shifts up to high gear suddenly. janowitz is beautiful but she sounds strained at the climaxes (unlike nielsen who doesn't).

Bernstein conducted well. I really like this record, except Florenstan. He sounds so stupid! Whenever he sings out, I find myself suddently being conscious of that this is but a record. All the atmosphere Rocco and Leonore had build is easily distructed by an awkward Florestan. And the result is that, this story is not so convincing. I wonder why Leonore would suffer so much to save such a hysterical husband's life...

This is a wonderful recording of Beethoven's only, and GREAT opera. The Vienna Philharmonic shines under Bersteins batton. Janowitz is very nice, as is Popp.

However, the definitive Fidelio recording is the EMI/Klemperer set.

Christa Ludwig blows any other Leonore away. She sings perfectly with wonderful form and emotion. Berry is a chilling Villan, and Vickers and Frick round out this stellar cast. Klemperer's direction is stunning and the Philharmonia plays with power, grace, and elegance.

To miss the Klemperer set is to miss one of the most special opera recordings, by the SECOND greatest composer to ever live. Mozart was the greatest composer to ever live.