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111020-21 bk FidelioEU 08/09/2005 16:14 Page 12

BEETHOVEN Also available: Fidelio

m Furtwä el ng ilh le W r

1 953 Recording

8.660070-71 Gottlob Frick • Otto Edelmann • Sena Jurinac Vienna State Opera Chorus Vienna Philharmonic Orchestra Wilhelm Furtwängler 8.111020-21 12 111020-21 bk FidelioEU 08/09/2005 16:14 Page 2

Mark Obert-Thorn

Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been Great Opera Recordings nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Ludwig Van Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His BEETHOVEN philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard (1770-1827) with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Fidelio consistently achieves better results than restoration engineers working with the metal parts from the archives of the Opera in Two Acts modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Libretto by Joseph Sonnleithner and Friedrich Treitschke maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is based on the French drama by J. N. Bouilly absent from many other commercially released restorations.

Leonore ...... Martha Mödl (soprano) Florestan ...... Wolfgang Windgassen (tenor) Rocco ...... Gottlob Frick (bass) Don Pizarro ...... Otto Edelmann (baritone) Don Fernando ...... Alfred Poell (baritone) Marzelline ...... Sena Jurinac (soprano) Jaquino ...... Rudolf Schock (tenor) First Prisoner ...... Alwin Hendricks (tenor) Second Prisoner ...... Franz Bierbach (bass)

Vienna State Opera Chorus Vienna Philharmonic Orchestra Wilhelm Furtwängler

Recorded 13th – 17th October, 1953 in the Musikvereinsaal, Vienna First issued as HMV ALP 1130 through 1132

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

8.111020-21 2 11 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 10

the brotherhood of man. Rocco pushes through the Grab / You opened his grave]. # Finally the prisoners CD 1 71:18 # Ach! Vater, eilt! 7:34 crowd, followed by Leonore and Florestan, ignoring and people sing praise of the woman who has rescued (Marzelline, Rocco, Jaquino, Leonore, Pizarro, Pizarro’s protests. Don Fernando is astonished to see her husband [Wer ein holdes Weib errungen / He who 1 Overture 6:38 Chorus) Florestan, whom he thought dead and still more amazed has won a beloved wife], joined by all in general (Orchestra) to see Leonore, dressed as a boy. Rocco explains what rejoicing. has happened, how Pizarro planned to murder Florestan Act I 64:40 CD 2 62:50 and how Leonore had disguised herself and intervened. Keith Anderson @ To popular approval Pizarro is taken away and 2 Duet: Jetzt, Schätzchen, jetzt sind wir allein 5:12 Act II 62:50 Leonore, at Don Fernando’s command, frees her A libretto may be accessed at (Jaquino, Marzelline) husband from his fetters [Du schlossest auf des Edlen www.naxos.com/libretti/fidelio.htm. 1 Introduction 4:08 3 Aria: O wär’ ich schon mit dir vereint 4:41 (Orchestra) (Marzelline) 2 Aria: Gott! Welch’ Dunkel hier! 7:33 4 Quartet: Mir ist so wunderbar 4:46 (Florestan) (Marzelline, Leonore, Rocco, Jaquino) 3 Melodrama: Wie kalt ist es in diesem 2:17 5 Aria: Hat man nicht auch Gold beineben 2:58 unterirdischen Gewölbe! (Rocco) (Leonore, Rocco)

6 Trio: Gut, Söhnchen, gut, hab’ immer Mut 7:22 4 Duet: Nun hurtig fort, nur frisch gegraben 4:37 (Rocco, Leonore, Marzelline) (Rocco, Leonore)

7 March 2:16 5 Trio: Euch werde Lohn in bessern Welten! 6:43 (Orchestra) (Florestan, Rocco, Leonore)

8 Aria with Chorus: Ha! Welch’ ein Augenblick! 6 Quartet: Er sterbe! Doch er soll erst wissen 3:52 (Pizarro, Chorus) 3:24 (Pizarro, Florestan, Leonore, Rocco)

9 Duet: Jetzt, Alter, jetzt hat es Eile! 4:59 7 Dialogue: Vater Rocco! Vater Rocco! 1:33 (Pizarro, Rocco) (Jaquino, Rocco) Es schlägt der Rache Stunde! 0 Recitative and Aria: (Leonore, Florestan, Pizarro, Rocco) Abscheulicher! Wo eilst du hin? 7:59 (Leonore) 8 Duet: O namenlose Freude! 2:49 (Leonore, Florestan) ! Finale: O welche Lust! 7:28 (Chorus, First Prisoner, Second Prisoner) 9 Leonore Overture No. 3 (Orchestra) 15:26 @ Nun sprecht, wie ging’s? 6:01 (Leonore, Rocco) 0 Finale: Heil! Heil sei dem Tag 2:00 (Chorus) 8.111020-21 10 3 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 4

! Des besten Königs Wink und Wille 3:54 CD 2 All is ready, and Rocco gives the agreed signal, (Don Fernando, Chorus, Rocco, Pizarro, Leonore, which Florestan realises is the presage of his own death. Marzelline) Act II Leonore tries to reassure him. Pizarro appears, cloaked, telling Rocco not to free Florestan from his chains, as @ Du schlossest auf des Edlen Grab 3:54 1 The second act opens in a dark dungeon, set deep in time presses. 6 Pizarro draws his dagger and casts (Don Fernando, Leonore, Florestan, Marzelline, the prison. To the left is a disused cistern, covered with aside his cloak, revealing his identity as Pizarro, the Rocco, Chorus) stones and rubble. In the background can be seen man Florestan had sought to overthrow [Er sterbe! various barred openings in the walls, through which Doch er soll erst wissen / He dies! Yet first he must # Wer ein holdes Weib errungen 4:04 stairs are visible, leading down from above and ending know]. He makes to stab Florestan but Leonore (Chorus, Florestan, Leonore, Marzelline, Jaquino, to the right, by the door to the cell. There is a lamp intervenes, telling him he must first kill her, Florestan’s Don Fernando, Rocco) burning. Florestan, shackled by chains to the wall, is wife. The revelation amazes all three who hear it, but sitting on a stone. 2 In a recitative he laments his fate Pizarro then resolves to kill both of them. Leonore [Gott! Welch Dunkel hier! / God, what darkness is draws a small pistol, threatening him, and at this here!), resigned to suffering. In the following aria he moment the trumpet signal is heard, announcing the recalls earlier happiness, seeming to see an angel, his approach of the Minister. Florestan is saved, and wife Leonore, leading him to freedom in Heaven. He Pizarro’s schemes confounded. 7 Jaquino appears, sinks down, his face buried in his hands. By the light of with officers and soldiers on the steps, announcing the a lantern Rocco and Leonore are seen descending the Minister’s arrival [Vater Rocco! Vater Rocco! / Father steps, bringing with them a jug and the tools they need. Rocco, Father Rocco!]. Rocco calls back to him, telling 3 In a melodrama, their words spoken against the the men to bring torches down and escort the Governor accompaniment of the orchestra, Leonore shudders at away. In a quartet [Es schlägt der Rache Stunde / The the cold [Wie kalt ist es in diesem unterirdischen hour of revenge sounds] Leonore and Florestan express Gewölbe / How cold it is in this underground vault]. their joy, Pizarro his dismay and Rocco his They see Florestan not moving, perhaps dead, but then astonishment. As Pizarro makes to rush away, Rocco he moves, to the relief of Leonore, who joins Rocco in signals for him to be followed, joins the hands of the the work of uncovering the disused cistern. In an aside couple and hurries after him. 8 Florestan and Leonore she declares her intention of rescuing the prisoner, but sing of their joy [O namenlose Freude! / O then must join Rocco in his task, [Nun hurtig fort / Now indescribable joy!]. quickly on with it]. Rocco pauses, to drink from the jug, 9 The scene changes, with the sound of Leonore and Florestan stirs, as Leonore sees. Now he speaks and Overture No. 3, to the parade-ground of the castle, with Leonore sees his face. He seeks to know the identity of the statue of the King. Soldiers march in and form an the prison governor, revealed to him by Rocco as open square. 0 Then the Minister Don Fernando Pizarro, and urges the gaoler to send a message to his appears from one side, accompanied by Pizarro and wife Leonore in Seville. Rocco tells him that this is officers. People gather, while from the other side impossible but when he asks for water, Leonore is able Jaquino and Marzelline lead in the prisoners, who kneel Producer’s Note to give him wine to drink. 5 In the following terzetto before the Minister, whom they welcome [Heil! Heil sei Florestan thanks her for the kindness she has shown dem Tag! / Hail! Hail to the day!]. ! Don Fernando The present transfer was made from a combination of British and American LP pressings. The original master [Euch werde Lohn in bessern Welten / You will be announces that he has come at the King’s behest to put tape contains some noises and occasional distortion which can also be heard on EMI’s own CD remastering. rewarded in a better world] and she offers him a piece of matters to rights [Des besten Königs Wink und Wille / bread that she has with her, in spite of Rocco’s initial The good King’s behest brings me to you]. He tells the Mark Obert-Thorn reservations. prisoners to stand up, abjuring tyranny and proclaiming 8.111020-21 4 9 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 8

prison-governor Pizarro. He posts sentries on the wall has seen them talking so long that she thinks Rocco may Ludwig van BEETHOVEN (1770-1827) and men on the tower and asks Rocco if he has anything have done him a favour and he will not mind. Rocco Fidelio to report. Rocco hands him a letter that warns him of the tells Fidelio and Jaquino to let the prisoners out and he impending surprise visit of the Minister, who has heard leaves, to find Pizarro. ! In the finale of the first act the Born in Bonn in 1770, Beethoven received his early year and in 1814. In it Beethoven took a popular rumours of arbitrary imprisonment. Pizarro thinks at prisoners slowly emerge, singing of their joy at being musical education from his father, a singer, and several operatic genre of the time, the ‘rescue opera’, and once of Florestan, Leonore’s husband: the Minister again in the open air, [O welche Lust, in freier Luft / O mediocre teachers. When only nine years old he became created a work which completely transcended the forms believes him dead, but if he finds him in the prison, what pleasure, in the open air]. An officer on the wall pupil and assistant to the court organist to the Elector of and expectations of the period. Fidelio is a passionate there will be trouble: now there is one way out. 8 In an sees them and goes away again to report the matter, Bonn. He travelled to Vienna in 1786 with the intention hymn to married love, a state which the composer agitated aria [Ha! Welch ein Augenblick! / Ha! What a while the prisoners realise they are being observed, now of studying with Mozart, but, with his mother’s final himself yearned for but never achieved, a searing moment!) Pizarro sings of the revenge he will now take talking softly among themselves. illness, was recalled to Bonn, where he played the viola indictment of the dangers of absolute power, and a bold so that final triumph may be his. The soldiers, seeing @ Rocco comes forward, with Leonore, who asks him in the court orchestra, and found a patron in Count declaration of freedom which has spoken continuously him, comment on the obvious importance of the news how things have gone, [Nun sprecht, wie ging’s? / Now Waldstein, among others. Haydn, visiting Bonn in to oppressed societies since it was first composed. Pizarro has received, as he talks of death. He calls the tell me, how did it go?). Rocco tells her that the 1792, saw some of his compositions and invited him to The plot is straightforward: Leonore has disguised captain to him and tells him to post a trumpeter on the Governor has given leave for Marzelline’s marriage and study with him in Vienna. Beethoven moved there in herself as a youth Fidelio and has become assistant to tower to observe the road from Seville: as soon as they for Fidelio to accompany him to the dungeon. He tells that year and first lived in the household of Prince the jailer Rocco, in the hope of finding her imprisoned see a coach approaching, with an escort, they must give her what has been planned: the man in the dungeon is to Lichnowsky. At this time he was known primarily as a husband Florestan. Rocco’s daughter, Marzelline, is in a signal. 9 Turning to Rocco, he tells him to hurry be buried there: Rocco will not murder him, but the virtuoso improviser at the keyboard. His fame as a love with Fidelio, to the annoyance of her suitor, [Jetzt, Alter, jetzt hat es Eile! / Now, old man, we must Governor will do that himself: they must only dig the composer was established with the publication in 1795 Jacquino. The prison governor Pizarro learns of an hurry!] and promises him money if he helps him: it is a grave. He seems to understand Leonore’s misgivings, of his Opus 1 piano trios. He remained in Vienna for the impending inspection and decides to kill Florestan. matter of murder. Rocco is shocked and refuses to kill, which she explains as not being used to such work. rest of his life, producing a steady stream of music in all Rocco refuses to carry out the murder but agrees to dig as that is not his duty. Pizarro tells him that he will see Seeing her tears, Rocco tells her that he will go alone, the principal forms. From 1798 onwards he suffered the grave. Leonore learns of the plot, and as the to the matter but Rocco must hurry to the dungeon but Leonore declares that she must see the man. from increasing deafness, which may explain why he prisoners emerge into the sunlight, searches in vain for where the prisoner he knows of lies and dig a grave # Marzelline and Jaquino hurry in, warning Rocco that never married. His Third Symphony, the Eroica, was her husband. In the second act Leonore and Rocco there: he himself will use a dagger to do the deed. Rocco Pizarro is approaching, angry that the prisoners have originally dedicated to Napoleon, but the composer descend to the dungeon where Florestan lies in chains. adds that death will be a release, the dagger will set the been allowed out [Ach, Vater, eilt! / Hurry, father!]. His withdrew this on hearing that Napoleon had declared Pizarro tries to kill Florestan, but is prevented at pistol- man free, while Pizarro continues to thirst for final rage, however, is dissipated when Rocco suggests that himself Emperor. The Fifth and Sixth Symphonies were point by Leonore, who reveals her true identity. With revenge on his enemy. He goes into the garden, they are celebrating the King’s name-day, and, as he first performed at the same concert in 1808. Two of his the arrival of the inspecting minister, Don Fernando, followed by Rocco. adds secretly, why not let the prisoners have some greatest works were the Ninth Symphony, which broke Pizarro is arrested and the prisoners are freed. Leonore 0 Leonore sees them go. In a recitative freedom, since the other one will die. Mollified, Pizarro general precedent by including a chorus and soloists in releases Florestan’s shackles herself. [Abscheulicher! Wo eilst du hin? / Abominable! Where warns Rocco not to do such a thing again and orders the the finale, and the Missa Solemnis. Both were first EMI’s 1953 studio recording of Fidelio, produced are you hurrying?] she summons up her courage, prisoners to be returned to their cells. The prisoners now performed in 1824. He was held in the highest esteem in by Walter Legge, was made immediately after a series continuing with an aria in which calls on hope to help return, bidding farewell to the sunlight. Marzelline Vienna, and in 1815 the city conferred its honorary of performances given by largely the same forces at the her in her duty as a loyal wife. As she goes after them comments on the sadness of the prisoners, while freedom on him. When he died in 1827, his funeral was Theater an der Wien in Vienna, where the very first into the garden, Marzelline comes out of the house, Leonore and Jaquino lead them back to their cells and an occasion for national mourning. performance of Fidelio had taken place in 1805. The followed by Jaquino. They are soon joined by Rocco Pizarro bids Rocco be about his business, much as the Beethoven’s significance in the history of music is first night of the 1953 production was recorded and this and Leonore. Marzelline is rejecting Jaquino’s latter shudders at the task before him. immense. He democratised the rôle of the composer, recording has been published, thus allowing a proposals of marriage and Rocco tells him that he has writing music out of inner necessity rather than to comparison to be made of Furtwängler’s performances other better plans. Leonore then suggests to Rocco that commission. He was not a quick worker and often of the same work in close proximity, and in the theatre he allow the prisoners from the upper cells out into the struggled to develop his ideas. Fidelio, his only opera, and the recording studio. Wilhelm Furtwängler was garden, since the weather is so fine. He is unwilling to was first performed in Vienna with himself conducting the pre-eminent German conductor of the twentieth act without the Governor’s permission, but Marzelline in 1805, and underwent revision during the following century. He was born into a cultured middle-class 8.111020-21 8 5 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 6

German family and was educated privately. He was 1942, and between 1945 and 1949 sang mezzo-soprano Synopsis tied back. She carries on her back a package of food and fascinated by Beethoven and is reputed to have rôles as a member of the Düsseldorf opera company. in her arms chains, which she leaves by the lodge. She memorised most of his works by the time he was twelve She joined the Hamburg State Opera in 1949 and began CD 1 shows Rocco the bill for what has been bought, to his years old. He made his conducting début in Munich in the change to dramatic soprano. She appeared with satisfaction. He hints that he can see what she has in her 1906, and after working as a coach at the Zurich and great success as Kundry and Isolde as well as 1 The overture Fidelio, suggesting a new tonal heart. 4 In a quartet [Mir ist so wunderbar / It is so Munich opera houses, went on to serve his Brünnhilde at the post-war Bayreuth Festivals, and scheme for the revised opera, provides a more wonderful for me] Marzelline believes that she has apprenticeship as a conductor with the opera companies appeared there regularly until 1967. She sang the rôle of satisfactory introduction to the relatively light-hearted Fidelio’s love. Leonore sings of the danger she is in and of Strasbourg, Lübeck and Mannheim. He made his Leonore at the re-opening of the Vienna State Opera in opening scene. the faintness of her hope and her awareness of début in Vienna in 1919. The following year he was 1955. During the latter part of her career she appeared Marzelline’s feelings. Rocco joins the quartet with his appointed conductor of the concerts of the Frankfurt and in several significant new operas by German and Act I understanding that the two are in love. Jaquino, drawing Berlin State Opera Orchestras, and in 1922, after the Austrian composers, and she remained a commanding near, is alarmed at what he sees happening. Rocco death of Arthur Nikisch, he became chief conductor of presence on the operatic stage into her eighties. 2 The scene is the courtyard of a prison. In the promises [Höre, Fidelio / Listen, Fidelio) that he will both the Berlin Philharmonic and Leipzig Gewandhaus The rôle of Florestan was taken by Wolfgang background are the main door and a high wall, above make Fidelio his son-in-law, once the Governor has left Orchestras. He succeeded Weingartner as the conductor Windgassen (1914-1974). After studying with his which tree-tops can be seen. In the main door there is a for Seville, but love is not all; money is important. 5 In of the Vienna Philharmonic Orchestra in 1928, the year father, he made his début in 1941 at Pforzheim as smaller entrance that can be opened for those coming on an aria [Hat man nicht auch Gold beineben / If you have in which he relinquished his Leipzig post. Henceforth Alvaro in La forza del destino. Between 1945 and 1972 foot and to one side is the porter’s lodge. To the left the no money] he goes on to point out the importance of most of his activities were centered upon the two he was a loyal member of the Stuttgart Opera, while barred windows of the prison cells can be seen and the money: nothing joined to nothing makes a paltry sum principal orchestras of Berlin and Vienna. He remained also pursuing a free-lance career as the outstanding door of the gaoler’s house, while to the right are trees and one who has only love on the table goes away in Germany throughout the Third Reich, and in early heldentenor of his generation. Like Mödl he set in iron railings and the gate to the castle garden. hungry. Leonore agrees [Ihr habt recht, Vater Rocco / 1945 escaped to Switzerland when it became clear that participated in the first post-war Bayreuth Festival of Marzelline, daughter of the gaoler Rocco, is ironing You are right, father Rocco) and now seeks to his life was in danger. He was forbidden by the allies 1951, singing Parsifal, and appeared annually at outside the door and the porter Jaquino is standing by accompany him, when he goes into the dungeons, to from conducting until the end of 1946, when he was Bayreuth until 1970. The last two years of his life were his lodge, opening the prison-door from time to time to help him in his work. He tells her that no-one is allowed cleared of all allegations of collaboration with the Nazi spent as the director of the Stuttgart Opera. take packages from people outside. Jaquino takes the to go there, but then adds that soon this work will be too government. From 1947 onwards, until his death at the Supporting these two pre-eminent singers were the opportunity to broach again the question of marriage much for him and the Governor must allow him to take end of 1954, Furtwängler was active in all the major two outstanding bass-baritones, Alfred Poell and Otto [Jetzt, Schätzchen, jetzt sind wir allein / Now, my help with him. She now questions Rocco about the European musical centres, in addition to recording for Edelmann, as the forces of good and evil, Don treasure, now we are alone]. Marzelline, however, will prisoner confined in the deepest dungeon. The man, she EMI. Fernando and Don Pizarro, the distinguished bass have none of him. He pleads to be heard, but as he goes is told, has been there two years and must have great The cast for Furtwängler’s Vienna performances Gottlob Frick as the hapless jailer Rocco, and, as the to answer the door she reveals her love rather for enemies if not great crimes to answer: for two months and recording of Fidelio represented the cream of young lovers Marzelline and Jaquino, Sena Jurinac Fidelio, although she is sorry for Jaquino. He returns to he has been ordered to reduce the prisoner’s food, with European opera singers of the period. The title rôle of and Rudolf Schock, both on the threshold of major urge her further, but in vain, as he is called again to the only two ounces of black bread a day, no light, no straw, Fidelio or Leonore was taken by Martha Mödl (1912- international careers. door. nothing more. Leonore declares she has the strength to 2001). She made her début as Hänsel at Remscheid in David Patmore Marzelline remarks that she was happy with see the prisoner. 6 The following terzetto allows Rocco Jaquino until Fidelio arrived, but then all was changed. to approve Fidelio’s resolution [Gut, Söhnchen, gut / 3 In an aria [O wär’ ich schon mit dir vereint / If only I Good, my boy, good]. Leonore has the strength to bear were married to you] Marzelline sings of her love for much for love. Marzelline admires Fidelio’s kindness Fidelio and how happy she would be in the future she and urges her father to allow Fidelio to accompany him, imagines. Rocco greets his daughter and asks whether while the latter seeks to go with Rocco immediately, Fidelio is back yet. At this moment Leonore returns. believing the prisoner to be her husband. She feigns She is dressed as a boy, wearing a dark-coloured jacket love for Marzelline to gain her purpose. and red waistcoat, dark-coloured breeches, short boots, 7 A march is heard, as the main door of the prison is a black leather belt with a copper buckle, with her hair opened and officers and soldiers enter, followed by the 8.111020-21 6 7 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 6

6 Trio: Gut, Söhnchen, gut, hab’ immer Mut 7:22 4 Duet: Nun hurtig fort, nur frisch gegraben 4:37 (Rocco, Leonore, Marzelline) (Rocco, Leonore)

7 March 2:16 5 Trio: Euch werde Lohn in bessern Welten! 6:43 (Orchestra) (Florestan, Rocco, Leonore)

8 Aria with Chorus: Ha! Welch’ ein Augenblick! 6 Quartet: Er sterbe! Doch er soll erst wissen 3:52 (Pizarro, Chorus) 3:24 (Pizarro, Florestan, Leonore, Rocco)

Mark Obert-Thorn

Vienna State Opera Chorus Vienna Philharmonic Orchestra Wilhelm Furtwängler

Recorded 13th – 17th October, 1953 in the Musikvereinsaal, Vienna First issued as HMV ALP 1130 through 1132

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

8.111020-21 2 11 8.111020-21 111020-21 bk FidelioEU 08/09/2005 16:14 Page 12

BEETHOVEN Also available: Fidelio

m Furtwä el ng ilh le W r

1 953 Recording

Martha Mödl • Wolfgang Windgassen

8.660070-71 Gottlob Frick • Otto Edelmann • Sena Jurinac Vienna State Opera Chorus Vienna Philharmonic Orchestra Wilhelm Furtwängler 8.111020-21 12 NAXOS Historical BEETHOVEN: Fidelio 8.111020-21 conducted Time , Playing 2:14:08 Fidelio of his generation, Wolfgang the pre-eminent German conductor the pre-eminent

epresented the cream of European the cream epresented urinac and Rudolf Schock were on the were urinac and Rudolf Schock This 1953 recording of This 1953 recording by century,of the twentieth Wilhelm Furtwängler, after immediately made was largely by given a series of performances Theater an der at the the same forces Vienna,Wien in scene of the very first of the opera in 1805. performance MarthaHeaded by Mödl, a commanding into the operatic stage well on presence her eighties, and the outstanding heldentenor Windgassen, Furtwängler’s the cast for and recording Vienna performances r opera singers of the period. Both Sena J careers. of major international threshold Act II 62:50 # - CD 21 62:50 (1770 – 1827) (1770 Fidelio Ludwig Van Ludwig BEETHOVEN Wilhelm Furtwängler Vienna State Opera Chorus in the Musikvereinsaal,Vienna Vienna Philharmonic Orchestra Vienna Philharmonic Orchestra Recorded 13th-17th October 1953 Recorded ADD OvertureAct I 6:38 64:40 8.111020-21 # Leonore ...... Martha Mödl FlorestanWindgassen ...... Wolfgang Rocco ...... Frick Gottlob Don Pizarro...... Otto Edelmann Don Fernando...... Poell Alfred Marzelline...... Jurinac Sena Jaquino ...... Rudolf Schock First Prisoner...... Hendricks Alwin Second Prisoner ...... Franz Bierbach Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn photo:WilhelmCover Furtwängler, unattributed photograph Archive) (Mary Library Evans Picture /Weimar be accessed at www.naxos.com/libretti/fidelio.htm. may A libretto www.naxos.com - CD 11 2 71:18

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NAXOS Historical BEETHOVEN: Fidelio 8.111020-21