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This latest release from LSO Live is a sizzling account of Beethoven's Fidelio under their new President, Sir Colin Davis.
The London Symphony Orchestra is the star of the recording, with an exceptionally vital rendition of the overture setting things off at a thrilling pace, which does not let up until the final bar of the opera.
Sir Colin is as keenly involved in the performance as ever, never letting the focus slip – though perhaps he's a little bit too involved, because his singing along with the orchestra and singers is clearly audible during many of the tracks! It's a shame that this could not have been reduced, because the sound quality is otherwise as vivid as the best of the previous recordings on the orchestra's own label.
That aside, rarely before have I been so swept away by this opera. It seems to move at an unstoppable pace from first to last, partly due to the reduction of the spoken dialogue to the bare minimum and the wise omission of the Leonore Overture No 2, which is often interpolated in performances as a ‘scene change' in the second act but dissipates the tension to my mind. Here, Sir Colin opts for a straightforward text, and the results are impressively visceral.
Christine Brewer has to be one of the most underrated singers in the world. As Leonore, she mixes lyricism and tremendous vocal reserves with a searching portrayal of one of the most interesting women in opera. Her Act 1 aria is easily the highlight of the recording, and may turn out to be the most exciting thing we'll hear on disc this year. She points the words with the greatest intelligence, and sings with exquisite tone colours.
Sadly, John Mac Master isn't nearly in the same league as Brewer in the role of Florestan. He's a touch less offensive on the recording than he was in the live performances last May; evidently, the major blips in his difficult entrance aria have been redone for the recording. And he's quite moving in the final scene, contributing well to the cast's sharply observed dramatic pathos. But his voice is strained, with insecure intonation at times, and it's a pity that the LSO couldn't have found Brewer a more sympathetic partner.
Nevertheless, the remaining singers are all excellent. Sally Matthews and former Royal Opera Young Artist Andrew Kennedy are bright and sparkly as Marzelline and Jaquino, while Kristinn Sigmundsson and Juha Uusitalo are in superb form as Rocco the gaoler and Don Pizarro.
The London Symphony Chorus sings with its usual gusto, particularly uplifting in the Prisoners' Chorus; yet again, I could not believe that this is not a professional choir.
But the honours go to Davis, for his spirited approach. We ought to see him in the opera house more often.
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