Beethoven: FIDELIO.(Review)

Beethoven: FIDELIO [] Jurinac, Stader; Peerce, Neidlinger, Ernster, Dickie, Paskuda, Neuner; Chorus and Orchestra of the Bavarian State Opera, Knappertsbusch. 1961. Text and translation. Westminster 289 471 204-2

Westminster's historic Fidelio recording wasn't exactly definitive in 1961, even by the less-than-lofty standards of the time. The cast boasted few great artists closely associated with their special assignments. Essential heroism was kept in check, except in matters strictly orchestral. The anonymous voices utilized for the spoken dialogue did not invariably resemble the singers on duty. The expressive ambience seemed rather sterile, the sonic reproduction a bit flat. Still, this was a special Fidelio -- a Fidelio conducted by Hans Knappertsbusch with Sena Jurinac in the title role.

Now returning on CD, the set takes on the value of a slightly bizarre yet illuminating curio. Knappertsbusch was a great Romantic conductor, a genuine link to Hans Richter and the golden Germanic age, a musician who dealt comfortably with bigger-than-life emotions, massive dynamic contrasts and spontaneous communicative appeals. Unfortunately, he also happened to be a rugged and stubborn individualist who loved slow tempos, hated rehearsals and desperately needed the stimulation of a live audience. Studio recordings tended to bring out the worst in him.

Much of his work here is daring and gutsy, grandiose yet subtly detailed. And, yes, much of it seems deliberate, plodding, mechanical, oddly and drastically distended. It never seemed like that in the opera house. Undaunted, the orchestra and chorus of the Munich Opera perform for their erstwhile boss -- ousted first by the Nazis, then by the occupation forces -- with obvious affection.

The wondrous Sena Jurinac had recorded a sweetly limpid Marzelline with Wilhelm ...