Under Klemperer, a maestro with roots in a great operatic tradition, this is a monumental, authoritative performance. From the very beginning of the Fidelio Overture, tempi are slow, deliberate, expansive: every note is important and vibrantly alive; every vocal and instrumental line stands out; there is time for poised changes and transitions. Chorus and orchestra are splendid; not only do all the soloists sing fabulously, but using all their vocal resources to bring out the character of words and music, they create real people and situations, mood and atmosphere. With a mostly German cast, even the spoken dialogue seems to aid rather than disrupt the drama. Berry is a wonderfully venomous villain, yet he sings every note accurately; Vickers, darkening his voice, makes Florestan more resigned than heroic, breathless in his ecstatic hallucination. Ludwig's voice is flawless over a huge range, warm yet gloriously radiant; she is an ideal Leonore in style, expression, and characterization. --Edith Eisler
