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Beethoven: Leonore

Marlis Petersen (Leonore), Maximilian Schmitt (Florestan), Dimitry Ivashchenko (Rocco), Johannes Weisser (Pizarro), Robin Johannsen (Marzelline), Johannes Chum (Jaqino), Tareq Nazmi (Don Fernando), Florian Feth, Julian Popken (Two Prisoners)

Freiburger Barockorchester, René Jacobs

Of the principals only Johannes Weisser’s Don Pizarro disappoints, and even he is strong in the dialogue. Jacobs’s tempos are fast – sometimes a bit skittishly so – and the sublimity one looks... — BBC Music Magazine, February 2020, 4 out of 5 stars More…

Release Date: 29th Nov 2019
Catalogue No: HMM90241415
Label: Harmonia Mundi
Length: 2 hours 19 minutes

Presto Recordings of the Year

Finalist 2019
Record Review

7th December 2019

Record of the Week
Presto Recording of the Week

6th December 2019
International Opera Awards

2020

Nominated - Complete Opera Recording
Opera

March 2020

Disc of the Month
Opus Klassik Awards

2020

Nominee - Female Singer of the Year (Petersen)
Opus Klassik Awards

2020

Nominee - Conductor of the Year

Beethoven: Leonore

Work length2:19:47

$35.60

$44.50

$51.70

Marlis Petersen (Leonore), Maximilian Schmitt (Florestan), Dimitry Ivashchenko (Rocco), Johannes Weisser (Pizarro), Robin Johannsen (Marzelline), Johannes Chum (Jaqino), Tareq Nazmi (Don Fernando), Florian Feth (1st Prisoner), Julian Popken (2nd Prisoner)
Freiburger Barockorchester, Zürcher Sing-Akademie
René Jacobs

Leonore Overture No. 2

Track length11:51

$1.40

$1.75

$2.05

Dial. 1 „Ich liebe dich, so wie du mich" (Marzelline, Jaquino) (1805 version)

Track length1:57

$1.00

$1.25

$1.45

Nr. 1. Arie „O wär' ich schon mit dir vereint" (Marzelline) (1805 version)

Track length3:20

$1.00

$1.25

$1.45

Dial. 2 „Ich komme zu gar nichts mehr!" (Marzelline, Rocco, Jaquino) (1805 version)

Track length0:35

$1.00

$1.25

$1.45

Nr. 2. Duett „Jetzt, Schätzchen, jetzt sind wir allein" (Jaquino, Marzelline) (1805 version)

Track length3:58

$1.00

$1.25

$1.45

Dial. 3 „Nein, nein und nochmals nein" (Marzelline, Jaquino) - „Schon wieder Krach, ihr Beiden?" (Rocco, Marzelline, Jaquino) (1805 version)

Track length1:57

$1.00

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$1.45

Nr. 3. Terzett „Ein Mann ist bald genommen" (Rocco, Jaquino, Marzelline) (1805 version)

Track length2:59

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$1.25

$1.45

Dial. 4 „Ist Fidelio noch immer nicht zurück, Marzelline?" (Rocco, Jaquino, Marzelline) - „Das hat ewig gedauert" (Marzelline, Rocco, Leonore) (1805 version)

Track length1:20

$1.00

$1.25

$1.45

Nr. 4. Quartett „Mir ist so wunderbar" (Marzelline, Leonore, Rocco, Jaquino) (1805 version)

Track length3:27

$1.00

$1.25

$1.45

Dial. 5 „Es ist klar, sie liebt mich" (Leonore, Rocco, Marzelline) (1805 version)

Track length0:45

$1.00

$1.25

$1.45

Nr. 5. Arie „Hat man nicht auch Gold beineben" (Rocco) (1805 version)

Track length2:30

$1.00

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$1.45

Dial. 6 „Es ist ein mächtig Ding: Das Gold!" (Marzelline, Leonore, Rocco) (1805 version)

Track length1:49

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Nr. 6. Terzett „Gut, Söhnchen, gut" (Rocco, Leonore, Marzelline) (1805 version)

Track length6:23

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$1.25

$1.45

Tarpeja, WoO 2b. Alla marcha, ma non troppo presto

Track length1:33

$1.00

$1.25

$1.45

Dial. 8 „Hauptmann, ich will drei Schildwachen auf dem Wall" (Pizarro, Hauptmann, Rocco) (1805 version)

Track length1:33

$1.00

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$1.45

Nr. 8. Arie mit Chor „Ha! Welch ein Augenblick!" (Pizarro, Die Wachen) (1805 version)

Track length3:03

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$1.45

Dial. 9 „Hauptmann, kommen Sie!" (Pizarro, Hauptmann, Rocco) (1805 version)

Track length0:43

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Nr. 9. Duett „Jetzt, Alter, jetzt hat es Eile!" (Pizarro, Rocco) (1805 version)

Track length4:45

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$1.45

Dial. 10 „Ich bin zu feige, ihr die Wahrheit zu sagen" (Leonore, Marzelline) (1805 version)

Track length0:46

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$1.45

Nr. 10. Duett „Um in der Ehe froh zu lebe" (Marzelline, Leonore) (1805 version)

Track length5:09

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$1.45

Dial. 11 „Komm Fidelio, wir gehen spazieren" (Marzelline, Leonore) - „Wie grausam, dieses liebenswürdige Mädchen" (Leonore) (1805 version)

Track length2:07

$1.00

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$1.45

Nr. 11. Rezitativ und Arie „Ach, brich noch nicht, du mattes Herz!" (Leonore) (1805 version)

Track length7:28

$1.20

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$1.75

Nr. 12. Finale „O, welche Lust, in freier Luft" (Gefangene) (1805 version)

Track length6:22

$1.00

$1.25

$1.45

„Nun sprecht, wie ging's?" (Leonore, Rocco) (1805 version)

Track length4:27

$1.00

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$1.45

„Ach, Vater, eilt!" (Marzelline, Rocco, Jaquino, Leonore, Pizarro, Chor der Wachen) (1805 version)

Track length4:50

$1.00

$1.25

$1.45

Nr. 13. Introduction und Arie „Gott! Welch Dunkel hier!" (Florestan) (1805 version)

Track length9:41

$1.20

$1.50

$1.75

Nr. 14. Melodram und Duett „Eiskalt ist es hier!" (Leonore, Rocco) (1805 version)

Track length5:34

$1.00

$1.25

$1.45

Dial. 15 „Er macht die Augen auf!" (Leonore, Rocco, Florestan) (1805 version)

Track length2:48

$1.00

$1.25

$1.45

Nr. 15. Terzett „Euch were Lohn in bessern Welten" (Florestan, Rocco, Leonore) (1805 version)

Track length5:14

$1.00

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$1.45

Dial. 16 „Alles ist bereit" (Rocco, Leonore, Florestan) - „Ist alles bereit?" (Pizarro, Rocco) (1805 version)

Track length1:01

$1.00

$1.25

$1.45

Nr. 16. Quartett „Er sterbe!" (Pizarro...) - Dial. 17 „Folge mir Rocco!" (Pizarro...) - „Die Waffe hab' ich mir nehmen lassen" (Leonore) (1805 version)

Track length5:13

$1.00

$1.25

$1.45

Nr. 17. Recitativ und Duett „Ich kann mich noch nicht fassen" (Florestan, Leonore) (1805 version)

Track length8:59

$1.20

$1.50

$1.75

Dial. 18. „Durch welches Wunder gelang es dir" (Florestan, Leonore) (1805 version)

Track length0:27

$1.00

$1.25

$1.45

Nr. 18. Finale „Zur Rache, wir müssen ihn seh'n!" (Chor) - „Zur Rache, zur Rache!" (Chor, Rocco, Florestan, Leonore, Fernando, Jaquino, Marzelline) (1805 version)

Track length15:13

$1.60

$2.00

$2.35

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Recording of the Week, Beethoven's Leonore from René Jacobs and the Freiburger Barockorchester

6th December 2019

The original 1805 version of Beethoven's only opera is a high-adrenaline experience in the hands of the Belgian conductor and his period-instrument band, with Marlis Petersen in the title-role and Maximilian Schmitt as her imprisoned husband.

From Leonore (1805) to Fidelio (1814) there were three successive versions of Beethoven’s opera, only the last of which has been in the repertory since the 19th Century.

Going against tradition, René Jacobs has chosen to revive the earliest version, reworking the librettos and the spoken dialogue: a genuine tour de force, this still unknown Leonore forms an incomparable musical and dramatic structure requiring exemplary mastery on the part of both orchestra and singers. This landmark recording proves its case in every respect.

Reviews

February 2020

Of the principals only Johannes Weisser’s Don Pizarro disappoints, and even he is strong in the dialogue. Jacobs’s tempos are fast – sometimes a bit skittishly so – and the sublimity one looks for is missing; yet overall this is an exciting account that offers a fresh look at an edition widely perceived to have been superseded by the composer himself.

February 2020

Jacobs writes a passionate note in the CD booklet championing 1805 as the best version of the opera. He then backs it up with a swift, dramatic musical performance. As in the past, the result often sounds like a young Klemperer with original instruments, never afraid to let wind, brass or drums speak their parts out as contributors to Beethoven’s dramatic timbre. It makes for a performance well prepared and cast with the lighter (but always agile) voices that Jacobs tends to favour.

March 2020

There is no question that Jacobs has here translated his academic argument into fervent advocacy...He is aided by a superlative performance from the Freiburger Barockorchester: the string playing, by turn lightly pointed or fiery, is complemented by characterful wind…[Petersen] gives a poised, exquisitely shaped and tonally beautiful account of the role...An early contender, the set bodes well to be one of the Beethoven year’s enduring highlights.

6th December 2019

Period-instrument accounts of the opera in any of its incarnations are surprisingly rare; what a joy, then, to hear the rasping natural horns and dry timpani of the Freiburger Barockorchester conjuring Florestan’s dungeon into eerie life...Jacobs hurtles through the score at breakneck speed so that the adrenaline-level never drops and the action unfolds like a pacey thriller. For the most part it works brilliantly in service of the drama and characterisation, though I did long for just a little breathing-space in the Prisoners' Chorus.

28th November 2019

As Jacobs and his singers present it, this is Beethoven’s opera as a descendant of the 18th-century Singspiel tradition, especially that of Mozart’s Entführung and Zauberflöte...His tempi are generally on the fast side, though the superb, crisp playing of the period-instrument Freiburg Baroque Orchestra ensures they never seem too hectic.

Beethoven: Leonore

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Recording of the Week, Beethoven's Leonore from René Jacobs and the Freiburger Barockorchester

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