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Beethoven: Leonore - Martinpelto, Oelze, Begley, Best [Gardiner] [2 CD]

Date: 10 Jun 2010 18:30:54

Beethoven - Leonore [Gardiner]
EAC Rip | Classical (opera) | 2 CD | FLAC + CUE + Logs | Scans 300 dpi | 595 mb | RS + SM | TT 02:18:05
Released: 14 Oct. 1997 | Label: Deutsche Grammophon

Pauline Nobes, Christiane Oelze, Alastair Miles, Franz Hawlata, Colin Campbell, Michael Schade, Kim Begley, David Watkin, Hillevi Martinpelto, Ruth Crouch, Matthew Best, Robert Burt
Orchestre Revolutionnaire et Romantique, John Eliot Gardiner (conductor)

Romain Rolland, writing specifically of Beethoven’s Leonore, described the work as “a monument of the anguish of the period, of the oppressed soul and its appeal to liberty”. John Eliot Gardiner, in the first complete recording of Fidelio’s predecessor for more than two decades, reveals both musically and verbally how the early, more radical opera has worked its spell on him, too. This, he says, is Beethoven struggling to recover the revolutionary fervour of his Bonn years; this is the score where the direct expression of spontaneous emotion, rather than the nobility of philosophical abstraction, is really to be found.

Characteristically, this new recording brings in its wake both a reappraisal of all the available source material, and insights aplenty gathered from the touring production which preceded it. Co-editor Nicholas McNair draws a fine-tooth comb through the comparative Leonore/Fidelio versions in an absorbing thesis which sees Leonore in the broader context of contemporary German philosophy. And, given that the slower musical pace of Leonore is counterbalanced by a stronger narrative thrust, the actor Christoph Bantzer contributes a sprightly narration which interleaves, deftly and movingly, brief asides from the likes of Wordsworth, Goethe and Holderlin.

And then, of course, there is the music. The Leonore No. 2 Overture is distinguished by the telling contrasts Gardiner draws between brooding strata of strings and the pearly light of the woodwind; and a reversal of the first two numbers gives Christiane Oelze a head start as a radiant Marzelline. The trio (Rocco, Marzelline and Jaquino) which prepares the Quartet “Mir ist so wunderbar”, does tend to impede the momentum but, like the ‘extra’ Marzelline and Leonore duet, “Um in der Ehe” in Act 2, it has a telling effect on the beat of the work’s human heart, and Gardiner’s sensitivity to its pulse throughout makes good any shortfall in dramatic impetus.

The D major March which introduces Act 2 is here restored to its original place for the first time since the premiere. With period-instrument brass and timpani making menacing circumstance out of what can be mere pomp, it makes the entry of Don Pizarro darker still. Matthew Best is, in articulation if not in range, one of the most blood-curdling Pizarros on disc, just as Alastair Miles is one of the noblest Don Fernandos.

“Komm, Hoffnung” reveals the resilience and steady, gleaming core of Hillevi Martinpelto’s Leonore. There are times when one craves a fiercer edge of passion; but, with the equally sharply focused tenor of Kim Begley, it is a joy to hear “O namenlose Freude” perfectly paced, and really sung. This Florestan sings his great aria without Fidelio’s vision of an “Engel Leonore”: Begley, no Heldentenor after all, is particularly well suited to the constant, dark minor key of this “Lebens Fruhlingstagen”, which presages Gardiner’s triumphant – and often surprising – finale.

– Hilary Finch, Gramophone [11/1997]

Information at Amazon.com

EAC Log - CD1

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 7. June 2010, 16:55

Beethoven / Complete Beethoven Edition. Vol. 4. Leonore. Disc 1

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EAC Log - CD2

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 7. June 2010, 17:12

Beethoven / Complete Beethoven Edition. Vol. 4. Leonore. Disc 2

Used drive : HL-DT-STDVD-ROM GDR8163B Adapter: 0 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
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Used interface : Installed external ASPI interface

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Command line compressor : C:\Archivos de programa\Exact Audio Copy\FLAC\FLAC.EXE
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Tracklisting

Disc 1
1 - Ouverture - Leonore II
2 - "…Twas in truth"
3 - Akt I - No.1 Arie: "O war ich schon mit dir vereint"
4 - "Beharrlich bleibt auf dem Liebespfad"
5 - Akt I - No.2 Duett: "Jetzt, Schatzchen, jetzt sind wir allein"
6 - "Der Kerkmeister, Rocco, der Vater"
7 - Akt I - No.3 Terzett: "Ein Mann ist bald genommen"
8 - "Fidelio kam - und niemand weiss woher"
9 - Akt I - No.4 Quartett: "Mir ist so wunderbar"
10 - "Gefuhl ist gut, doch Geld ist besser"
11 - Akt I - No.5 Arie: "Hat man nicht auch Gold beineben"
12 - "Unantastbar klar birgt Leonores Brust"
13 - Akt I - No.6 Terzett: "Gut, Sohnchen, gut"
14 - Akt II - No.7 Einleitung
15 - "Der Gouverneur ist da"
16 - Akt II - No.8 Arie mit Chor: "Ha! Welch ein Augenblick!"
17 - "Postiert eine Trompete auf dem Wachturm!"
18 - Akt II - No.9 Duett: "Jetzt, Alter, hat es Eile!"
19 - "Und Leonore begegnet Marzelline"
20 - Akt II - No.10 Duett: "Um in der Ehe froh zu leben"
21 - "Die ernsten Steine des dumpfen Gemauers"
22 - Akt II - No.11 Rezitativ und Arie: "Ach, brich noch nicht, du mattes Herz!" - "Komm Hoffnung, lass den letzten Stern"

Disc 2
1 - Akt II - No.12 Finale: "O welche Lust, in frier Luft" (Gegangenen-Chor)
2 - Akt II - No.12 Finale: (Rezitativ:) "Entfernt euch Jetzt! Nun, konnt ihr eilen?
3 - Akt II - No.12 Finale: (Duett:) "Wir mussen gleich zu Werke schreiten"
4 - Akt II - No.12 Finale: (Arie:) "Auf euch nur will ich bauen"
5 - Akt III - "Florestans Not im Dunkel tauber Einsamdeit"
6 - Akt III - No.13 Rezitativ und Arie: "Gott! Welch Dunkel heir!" - "In des Lebens Fruhlingstagen"
7 - Akt III - No.14 Melodram und Duett: "Wie kalt ist es in diesem unterirdischen Gewolbe!"
8 - Akt III - (Duett:) "Nur hurtig fort, nur frisch gegraben"
9 - Akt III - "Dort, in der Tiefe"
10 - Akt III - No.15 Terzett: "Euch werde Lohn in bessern Welten"
11 - Akt III - "Und Rocco eilt"
12 - Akt III - No.16 Quartett: "Er sterbe! Doch er soll erst wissen"
13 - Akt III - "Oh Leonore! Alles was dein Mut gewagt - verloren!"
14 - Akt III - No.17 Rezitativ und Duett: "Ich kann mich noch nicht fassen"
15 - Akt III - No.18 Finale: "Zur rache! Zur Rache!"
16 - Akt III - No.18 Finale: "O Gott! O welch ein Augenblick!"
17 - Akt III - No.18 Finale: "So mussen endlich Aufgeklarte"
18 - Akt III - No.18 Finale: "Doch hore erst, du Bosewitch"
19 - Akt III - No.18 Finale: "Dann herrscht allgemeine Freiheit une Gleichheit der Geister"
20 - Akt III - No.18 Finale: "Nein, nein, nein! Erst ist noch zu gering bestraft!"
21 - Akt III - No.18 Finale: "Ein hoherer Geist, vom Himmel gesandt"
22 - Akt III - No.18 Finale: (Rezitative:) "Der Konig wird dein Richter sein!"
23 - Akt III - No.18 Finale: "Wer ein holdes Weib errungen"
24 - Anhang No.7a Marsch (alternative version) B-dur

Thank you to my dear mother Patricia R. and her outstanding opera collection for making this contribution possible.

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