I have three versions of Fidelio: the Heppner/Voigt/Davis on RCA, the VPO
Bernstein on DG, and the earlier (1964) Maazel Decca/London with Nilsson &
McCracken.  While Davis is weighty and reverent, the younger Maazel is
melodramatic and over-the-top. McCracken chews the scenery down in the
Dungeon, while Nilsson's Leonore is dead-on vocally and dramatically taut.
Meanwhile, Maazel drives the VPO as if they're all late for the train; the
final chorus is a scramble worthy of Orff.  And Decca's special effects
team is all over the place, with echo chambers, up-close speakers, and a
broad stereo stage.

In contrast, the VPO under Bernstein sounds as if they're moving from
Haydn in the opening pages to something close to Mahler at the end.
Bernstein maintains his own vision of the piece, including a cinematic
fade to the Leonore Overture No. 3 just before the finale.  The overall
effect is a wide-screen spectacle, compared to Maazel's shoot-'em-up
serial.  (These performances were part of a Beethoven festival and the TV
special "Bernstein in Vienna" in the mid-70s).  But the singers don't do
much for me.

In that regard, the Davis line-up is impressive, and the pacing and playing
don't get in the way.  I've only heard the Klemperer in broadcast excerpts,
but, to these ears, Davis comes close; and Heppner handles Florestan with
ease.  Leonore 2 is included as a filler, for those who are keeping score.
The sound is typical of BMG in Munich: clear, bright, but oddly balanced
on occasion.  I keep the Maazel/Nilsson around to play from time to time
when no one's looking.

Dick Claeys
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