Beethoven: Fidelio, Op. 72

“Sena Jurinac gives a deeply affecting performance in the Prison Scene … Jan Peerce was an unexpected but good choice for the hero. His singing is strong and clear; both words and musical phrases are firmly moulded; ardour and the ring of conviction inform his singing.”” Gramophone Magazine

“Abbado’s command of the score and its structure is consummate, the atmosphere palpable through his perceptive application of orchestral colour. The detail he elicits from his hand-picked Lucerne Festival Orchestra is phenomenal, the blend of sonorities aglow, the clarity of texture refined with a masterly touch.” The Telegraph, 23rd June 2011 *****

“Abbado and his hand-picked Lucerne orchestra certainly do not disappoint here, as Beethoven’s epic score is delivered with drama and incandescence...Kaufmann’s thrilling Florestan emerges with a gut-wrenching cry from his dungeon. The set is worth sampling for him alone.” Sunday Times, 26th June 2011 ***

“Jonas Kaufmann’s first note alone is a good reason to buy this new recording of Beethoven’s stirring opera...The effect makes your jaw drop, your pulse pause, your hairs stand on end...Abbado conducts with magisterial but selfless understanding. In the overture alone (Beethoven’s punchy fourth version is used) you feel electricity and humanity in every jabbing rhythm and lyrically sculptured phrase.” The Times, 1st July 2011 ****

“Abbado's contribution is without doubt extraordinary – a loving if slow interpretation, noble in its anguish and elation...An exceptional Florestan – arguably the finest since Jon Vickers's – from Jonas Kaufmann wonderfully conveys his moral greatness as well as the extremity of his suffering.” The Guardian, 7th July 2011 ****

“this is a “modern” Fidelio in so far as it espouses lightly pointed rhythms, transparent textures and attention to detail – but it also captures the hallowed glow of Beethoven tradition...Interest for opera fans lies primarily in Jonas Kaufmann’s Florestan: his aria, beginning on a thread of sound, is as much a meditation as a cry from the depths.” Financial Times, 9th July 2011 ****

“Under Claudio Abbado’s assured direction, the Mahler Chamber and Lucerne Festival orchestras derive a fantastic amount of energy...[Stemme] manages to imbue her Fidelio/Leonore role with the requisite disguised anguish...High praise also must go to the spellbinding ensemble work...Jonas Kaufmann also impresses, most of all in his lachrymose opening to the second act...Due in part to the relative infrequency of recordings of Fidelio, this is one in particular to be cherished.” Daniel Ross, bbc.co.uk, 1st July 2011

“the instrumental performance is faultlessly sensitive to the drama it is illustrating. The singing is heroic, both from Nina Stemme as Leonore/Fidelio and Jonas Kaufmann as Florestan. Rachel Harnisch is a touching Marzelline, Falk Struckman a terrifying Don Pizarro.” The Independent on Sunday, 24th July 2011

“Abbado leads a viscerally charged performance that flies to the very heart of the matter...One of the many glories of this thrillingly articulated Fidelio is the playing of the basses and lower strings sharp-featured and black as the pit of Acheron...This is the best-conducted Fidelio since Furtwängler's; a joy to experience and a privilege to possess.” Gramophone Magazine, September 2011

“The real star of this performance...is the Lucerne Festival Orchestra, in whose hands the music seems to glow from within. The playing is thrilling throughout, with Claudio Abbado caressing every detail of Beethoven's score...The Arnold Schoenberg Choir rises to the occasion, too, producing hushed singing of great beauty in the Act 1 prisoners' chorus...Kaufmann is a commanding Florestan. His opening phrase as he lies in the depths of the dungeons is spine-tingling.” BBC Music Magazine, September 2011 ****

“Abbado brings elegance to everything he touches. In the event, Kaufmann is superb, Stemme sings with technical control and warmth of tone, and Abbado conducts with exemplary clarity.” Classic FM Magazine, October 2011 ***

“I could be in the minority when I state that I find this performance almost clinical...[Kaufmann] can do no wrong and, in fact, he does no wrong here, articulating his despair as well as his hope and desperation with great sincerity...Abbado is obviously going for a lean performance, and he succeeds; one hears things in both orchestra and vocal lines that are frequently smudged elsewhere.” International Record Review, September 2011

“this is a lean, chamber-sized account, every note precisely placed, but with enough punch for the drama to hit home...for superb technical playing, transparency of sound and with Stemme and Kaufmann in glorious voice, this is a Fidelio to treasure.” Opera Britannia, 6th October 2011

“There is much to recommend this performance of Beethoven's Fidelio, recorded in clean mono sound. Karl Böhm was an immensely experienced conductor of this opera, and his account of the Leonore No. 3 Overture is thrilling. Jon Vickers, in one of his first Florestans, is in uneven voice, but committed. Birgit Nilsson makes an exciting Fidelio.” BBC Music Magazine, November 2011 ****

“the focus of interest falls primarily on the conducting...It's a white-knuckle ride of a performance in which he ratchets up the tension to the nth degree, reminding us that this grandest of humanitarian statements is essentially a thriller, and one of the finest ever written...The dialogue here is delivered with tremendous sincerity, at times shockingly intense.” The Guardian, 7th July 2011

“...the role of Leonore is vocally an ideal one for Norman's unique voice, the noblest instrument of them all...the rugged strength characteristic of Haitink's Beethoven is consistently contrasted against the most refined, transparent textures, with the Staatskapelle Dresden playing beautifully.” Gramophone Magazine, January 1991

“[Altmeyer's] exchanges with Jerusalem's stalwart Florestan are highly charged and the dialogue catches fire as never before...Siegmund Nimsgern's villain keeps temperatures boiling.” BBC Music Magazine, July 2010 ***

“Klemperer had a close affinity to Beethoven's only completed opera, a tricky work to perform. This, his 1962 recording...is typically statuesque and majestic. Christa Ludwig, a mezzo rather than true soprano, brings dark colours to the role of Leonore, while tenor Jon Vickers is a superb Florestan.” BBC Music Magazine, January 2012