4 von 5 Kunden fanden die folgende Rezension hilfreich
A near perfect Fidelio,
Rezension bezieht sich auf: Beethoven, Ludwig van - Fidelio (DVD)
An outstanding performance of Beethoven`s opera Fidelio taken live at the Zurich opera House on februari 15th, 2004.
Almost 10 years after Harnoncourts`s first performance at the 1994 Styriarte festival at the Stefaniensaal, Graz, Austria, june 1994 this performance is staged at the Zurich opera house and directed for the stage by Jurgen Flimm, who has worked with Harnoncourt for a long time and has recently been appointed as the new intendant for the Salzburger Festspiele, following Peter Ruzcika in this position.
It is interesting that Mr. Harnoncourt has chosen to perform the work on stage rather than as a concert performance as he did 10 years before. The Styriarte performance, which has been recorded by TELDEC and released on CD made a profound impression on me when I bought it but failed to convince me of Beethoven as an opera composer. Beethoven himself confirmed my opinion, proved by his many revisions of the opera (3 times) and the ouverture (4 structurally different versions).
Contrary to Mozart`s opera`s, the story unfolds rather awkwardly and sometimes emphasizes on themes that seem rather trivial to the story. An example of this is Rocco`s `GOLD`aria.
This performance however pushed me in my chair completely spellbound and almost cost me an expensive crystal wine glass when tension amnounted to such a point that I almost broke it in my hand. It is unreal, the way that tension and long musical line are maintained throughout the entire work.
The cast is perfect. Laszlo Polgar sings an excellent Rocco and is evidently loved by the Zurich audience. Christoph Strehl a convincing Jaquino eventhough the role seems to me to be rather ungratefull since he appears only at the beginning of the first act. Elizabeth Rae Magnusson does well as Marzelline. The great surprise for me however is Alfred Muff, who by his diabolicol acting and singing as well as by his outstanding and voluminous voice has transformed Pizarro from a rather dull ruler into a tyrant straight from hell, the total effect further enhanced by his black leather outfit and the excellent lightning. Bravo Alfred! Had I been there, I would have broken down the house for you! You were the true star of the evening and the audience failed to see it.
Being an (amateur) singer myself I pretend to understand to a certain degree how immensely difficult his role in this opera is and how much of a masterpiece this man has given. Bravo!
Jonas Kaufmann, of whom I had never heard untill I saw him replacing Michael Schade as Tito during an Harnoncourt performance of Mozart`s `La Clemenza di Tito` at the 2003 Salzburger festspiele (Schade had the flue) made a serious impression on me, as well. As Tito, he sang from the orchestra while Schade went through the motions of singing and acted his part. An elegant solution to an awkward problem. Kaufmann`s performance on this disc gave me the strong impression that he sang Tito a prima vista in 2003, as his singing here is so much more profound, emotional and strong that it was during that remarkable performance of `Clemenza`.
A rising star indeed.
Gunter Groissbock sings well as Fernando, also an ungratefull role.
The orchestra: Let it never ever again be said that opera house orchestras are second rate and sloppy. What an orchestra! what precision! Every stroke of the non-existent baton(Harnoncourt never uses one) is followed precisely, musicians at the edge of their chairs and if there is a tiny imperfecton here or there it can only be because of the great risks taken to make music out of this difficult piece.
10 years after the Styriarte performance for the first time I get a small glimmer of understanding of this opera. Love is the key-word here and any political aspect is carefully left alone. The love between husband and wife is what drives this masterfull performance.
What more can I say? I expected an eye-opener of Mr. Harnoncourt but did not expect my soul to be laid bare. From bar one of the ouverture, tension mounts and is maintained to the very final bar of the ridicolously long finale, in which even Marzelline is somewhat rounded at last by a masterfull stroke of genius of the stage director, who pictures her trying to take her life as she is shattered by the revelation that the man she wants to marry is a woman and married to the most carefully hidden prisoner.
Hein Storm van Leeuwen