Beethoven: Fidelio (Complete Opera)

Beethoven is undoubtedly one of the most famous classical composers, works such as the 'Emperor' Piano Concerto and the 'Choral ' Symphony regarded as 'pop' classics. He wrote in every genre, but completed just one opera, Fidelio. This story of wrongful imprisonment reversed by the true love of a woman took two years to compose. It was a failure, and it was nine years later and two revisions before he arrived at the great work we know today. With its thrilling overture and the final chorus of the freed political prisoners, the story is as true and potent today as it was almost 200 years ago

"If you're looking for a handsomely recorded, well-sung, nicely put-together Fidelio that's closer in size to Harnoncourt's smallish version than to any of Furtwängler's or the magnificent Klemperer (with the darkly colored Vickers and Ludwig), this set is ideal for you. Michael Halász leads a non-nonsense performance with what seems to be a not quite full-sized orchestra and emphasizes the humanity of our hero and heroine - a pair of regular types who rise heroically to the occasion.

"Nielsen and Winbergh are Scandinavian, and the typically bright northern sounds they make are most welcome, particularly since they sing every note, pay attention to the words, and seem genuinely involved. Their sounds may not be heroic per se, but their singing of the individual arias and the notoriously difficult "O namenlose Freude" certainly is. Alan Titus's big, nasty voice almost solves the problems in Pizarro's clumsily composed music, and Kurt Moll's luxurious bass is almost too dignified for Rocco, though he plays the bumpkin well.

"The chorus is impressive and intense when needed; the same might be said for the orchestra.

"In short, a fine Fidelio, one I'll be happy to return to again and again, particularly for our leading man and lady."
- Stereophile (Robert Levine), May, 2000

"This new Fidelio, tautly and atmospherically conducted, solidly cast throughout, with exceptionally fluent and expressive work in the two leading roles, has a great deal to recommend it - not just as a low-priced alternative but as a possible first Fidelio in a collection.

"Michael Halász leads his excellent orchestra and chorus in an alert, propulsive rendition that addresses the theatrical and emotional values of each scene. He also seems to elicit top-grade performances from everyone in the cast.

"Inge Nielsen rises as impressively to the demands of Leonore as she did to Weber's Reiza (on RCA 68505): the grave nobility, dramatic thrust, easy flexibility and wide range demanded by these roles seem a perfect fit for her skills. If she hasn't the weighty grandeur of some classic Leonores of the past, her bright clarity offers its own substantial reward. Gösta Winbergh matches her level, combining vocal poise, tonal beauty and emotional dignity to create one of the best Florestans recorded."
- Opera News (Jon Alan Conrad), March, 2000

"Let me state right off that this is a magnificent performance. It is a studio recording but one that bursts with drama, with all the tension and thrills of a live performance.

The Nicolaus Esterazy Sinfonia demonstrates snap and polish, and the overture goes with impressive dramatic urgency. Marzelline (Edith Lienbacher) and Jaquino (Herwig Pecoraro) seem involved in more weighty matters than usual; she is excellent, sounding ready to step up to Leonore should the occasion demand. The introduction to the quartet, taken slowly, glows with warmth. Nielsen and Moll are equally fine; Rocco's aria and the trio go superbly. Titus's Don Pizarro proves both vocally potent and dramatically evil, a rare combination. Nielsen's "Abscheulicher!" comes as a shock: Her singing is flawless (impossible in this aria) and the dramatic effect is overwhelming. The accompanying horns are firm and rich, and indeed every orchestral effect is perfectly calculated. The aria is so fervent, with such commanding presence, that one is surprised when it ends quietly, without an outburst of cheers...

Naxos's warm recorded sound contributes much to the performance. The acoustic ambiance is somewhat reverberant, but not excessively so. Balances are ideal: solos, ensembles, choruses, and purely orchestral passages are just right... Three cheers for a Great Recording of the (new) Century!"
- Fanfare (James H. North), Mar-Apr 2000

"It is a tremendous success... this recording has one of the strongest [opera casts], in the leading roles, for several decades."
- Classic CD (Michael Tanner), Feb 2000

"Here, at a super-budget price, is a superlative performance of Beethoven's only opera that eclipses most of its more expansive rivals... Hungarian maestro Michael Halasz produces thrilling results... The young Danish soprano Inga Nielsen is a glorious Leonore-lyrical, supple of voice, yet thoroughly believable and dramatic-while the Finnish tenor Gosta Winbergh is a lighter-than-usual, but twice as effective Florestan: his opening cry of Gott! is all the more chilling for its dynamic build-up. Alan Titus's Pizarro is lean rather than beefy, and all the better for it, while the veteran bass Kurt Moll defies age as one of the finest Roccos on disc. The Hungarian Radio Chorus is exemplary, as is the playing of Nicolaus Esterhazy Sinfonia. There is the real feeling of the stage about this recording. If you haven't got a Fidelio in your collection or want another, buy this."
- Green Guide (Michael Shmith), Jan 2000

"Extraordinarily impressive"
- Antony Bye, BBC Music Magazine, Jan 2000

"A recording that surpasses all recent sets of the piece by virtue of the all-round excellence of its cast and its vital conducting (Michael Halasz)."
- Gramophone Critics' choice 1999(Alan Blyth)

"..Thanks to a generous acoustic and Halasz's spacious tempos, the recording offers a rare chance to savour the timbres of Beethoven's orchestra...A Fidelio for modern ears."
- Andrew Clark, Financial Times 27th November, 1999

"By moderns standards, this is an exceptional recorded account of Beethoven's unique hymns to conjugal love and freedom from tyranny. Naxos has found, in Halasz, and experienced conductor who has the measure of Beethoven;s symphonic breadth - try the Klemperer-like introduction to Act II to hear what I mean - yet moves the drama forward with exhilarating theatricality at quasi-"authentic" tempi. His cast, too, is most interesting: Inge Nielsen - superlative Salome - is a lyrical, unusually boyish-sounding Fidelio, stretched to her limits on by the heroics of Act II. Her Florestan, Goesta Winbergh, combines Mozartian grace with a thrilling Heldentenor ping - his cry of Gott! raises goosepimples - and Kurt Moll's veteran Rocco is still splendidly sung and spoken... this is still a steal at super-budget price."
- Hugh Canning, Sunday Times, 7 November 1999

"NAXOS has produced a super-budget version of a classic that takes most of the honours in a challenge with other recordings. Halasz goes right to the heart of Beethoven's "rescue opera" with a taut reading, strongly accented and dramatically cogent. The recording also goes to the top of the operatic tree for its singers. Inga Nielsen gives an intense performance as Leonore. Her Florestan is Goesta Winbergh, his tenor ideally poised between the lyrical and the heroic. Alan Titus is a suitably nasty and imposing Pizarro and veteran bass Kurt Moll and assured and sympathetic Rocco. The admirable chorus and orchestra all add to the sense of integrated purpose."
Alan Blyth, Daily Telegraph, 30th October 1999

"Whether you are looking for a first recording of Fidelio or have every other version in the catalogue, this new issue is a must. The budget label Naxos has assembled a cast that major companies would find hard to beat, though the achievement here is not just about individual singers: this cast is better matched than on almost any recording of Beethoven's masterpiece."
- The Times, 26th October 1999

Finalist Gramophone Awards 2000 - Opera