Jonas Kaufmann, Nina Stemme, Claudio Abbado - Beethoven: Fidelio (2011)
Artist: Jonas Kaufmann, Nina Stemme, Claudio Abbado
Title: Beethoven: Fidelio
Year Of Release: 2011
Label: Decca
Genre: Classical
Quality: FLAC (tracks) / MP3 320 Kbps
Total Time: 01:54:43
Total Size: 497 Mb / 292 Mb
WebSite: Album Preview
Tracklist: Title: Beethoven: Fidelio
Year Of Release: 2011
Label: Decca
Genre: Classical
Quality: FLAC (tracks) / MP3 320 Kbps
Total Time: 01:54:43
Total Size: 497 Mb / 292 Mb
WebSite: Album Preview
CD 1
1 Ouvertüre 6:20
Erster Aufzug • Act One • Acte Un 62:17
2 Nr. 1 Duett: Jetzt, Schätzchen, Jetzt Sind Wir Allein (Jaquino, Marzelline) 4:52
3 Dialog: Seit Fidelio Bei Uns Ist (Marzelline) 0:12
4 Nr. 2 Arie: O Wär Ich Schon Mit Dir Vereint (Marzelline) 3:41
5 Dialog: Ich Täusche Die Menschen, (Rocco, Marzelline, Leonore) 0:54
6 Nr. 3 Quartett: Mir Ist So Wunderbar (Marzelline, Leonore, Rocco, Jaquino) 4:31
7 Dialog: Marzelline Und Fidelio Haben Sich Offensichtlich (Rocco) 0:17
8 Nr. 4 Arie: Hat Man Nicht Auch Gold Beineben (Rocco) 2:35
9 Dialog: In Den Finstersten Gewölben (Rocco) 0:30
10 Nr. 5 Terzett: Gut, Söhnchen, Gut (Rocco, Leonore, Marzelline) 6:39
11 Nr. 6 Marsch 2:08
12 Dialog: Was Neues Vorgefallen? (Pizarro, Rocco) 0:49
13 Nr. 7 Arie Mit Chor: Ha! Welch Ein Augenblick! (Pizarro, Wache) 3:30
14 Dialog:Und Nun Zu Dir (Pizarro, Rocco) 0:05
15 Nr. 8 Duett: Jetzt, Alter, Jetzt Hat Es Eile! (Pizarro, Rocco) 5:14
16 Nr. 9 Rezitativ Und Arie: Abscheulicher! Wo Eilst Du Hin? Komm, Hoffnung, Laß Den Letzten Stern Der Müden Nicht Erbleichen! (Leonore) 7:23
17 Monolog: Wie Fidelio Das Wieder Geschaft Hatte 0:21
18 Nr. 10 Finale I: O Welche Lust, In Freier Luft Den Atem Leicht Zu Heben! (Gefangene, Erster Gefangener, Zweiter Gefangener) 6:56
19 Nun Sprecht, Wie Ging's? (Leonore, Rocco, Marzelline, Jaquino, Pizarro) 5:20
20 Ach Vater, Eilt! 0:42
21 Verwegner Alter! 1:50
22 Leb Wohl, Du Warmes Sonnenlicht (Gefangene, Marzelline, Leonore, Jaquino, Pizarro, Rocco) 3:45
CD 2
Zweiter Aufzug • Act Two • Acte Deux 46:25
1 Nr. 11 Introduktion Und Arie: Gott! Welch Dunkel H Ier! ... In Des Lebens Frühlingstagen (Florestan) 11:24
2 Nr. 12 Melodran Und Duett: Wie Kalt Ist Es In Diesem Unterirdischen Gewölbe! ... Nur Hurtig Fort, Nur Frisch Gegraben (Leonore, Rocco) 5:54
3 Dialog: Ihr Habt Wieder Geruht 0:33
4 Nr. 13 Terzett: Euch Werde Lohn In Bessern Welten (Florestan, Rocco, Leonore) 6:31
5 Dialog: Alles Ist Bereit (Rocco, Leonore, Florestan, Pizarro) 0:08
6 Nr. 14 Quartett: Er Sterbe! (Pizarro, Florestan, Leonore, Rocco) Dialog: Vater Rocco! Der Herr Minister Ist Angekommen (Jaquino, Rocco) Es Schlägt Der Rache Stunde (Leonore, Florestan, Pizarro, Rocco) 5:03
7 Nr. 15 Duett: O Namenlose Freude! (Leonore, Florestan) 3:04
9 Nr. 16 Finale Ii: Heil Se Dem Tag ... Des Besten Königs Wink Und Wille ... Wer Ein Holdes Weib Errungen, Stimm In Unsern Jubel Ein! (Gefangene Und Volk, Fernando, Rocco, Pizarro, Leonore, Marzelline, Florestan, Jaquino) 13:46
Performers:
Nina Stemme
Jonas Kaufmann
Rachel Harnisch
Christoph Strehl
Christof Fischesser
Falk Struckmann
Arnold Schoenberg Chor
Juan Sebastian Acosta
Levente Pall
Peter Mattei
Lucerne Festival Orchestra
Mahler Chamber Orchestra
Claudio Abbado
One of the outstanding qualities of this recording of Fidelio from the 2010 Lucerne Festival is the depth of the casting, down to the smallest roles; the singers in secondary and tertiary parts may not be internationally renowned, but they all deliver first-rate performances. Having a singer of Peter Mattei's stature and distinctiveness as Don Fernando, who doesn't even show up until the finale, is real luxury casting. Soprano Rachel Harnisch, bass Christof Fischesser, and tenor Christoph Strehl as Marzelline, Rocco, and Jaquino, are not widely familiar names, but their performances are simply superb, sharply characterized, and beautifully sung. Harnisch and Strehl's duet that opens the opera establishes the expectation that this is going to be an exceptional performance, and when the quartet is joined by Fischesser and Nina Stemme in the title role, it is a marvel of musical subtlety and emotional complexity. Falk Struckmann is not entirely consistent as Don Pizarro; his presence is effectively menacing, but in the first act he tends to sound forced and his intonation in occasionally questionable. By the second act he seems to have found his footing and is far more persuasive. Tenor Jonas Kaufmann delivers a powerfully dramatic performance and sounds even more baritonal than he usually does, which is appropriate for this role, especially in the aria that opens Act II. Stemme doesn't come across with the personal force the role requires, but her singing is lovely and expressive throughout. Claudio Abbado leads the Mahler Chamber Orchestra/Lucerne Festival Orchestra and Arnold Schoenberg Chor in a terrific performance of the score, by turns urgently propulsive and achingly lyrical. His insightful pacing and the sensitive orchestral playing contribute hugely to the impact of the performance. The sound is clean and detailed, but the voices generally could afford to be slightly more present; they certainly aren't swamped by the orchestra but balance would have been finer if the soloists had been more in the foreground.
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