“Now that political events in Germany have restored to the concepts of human dignity and liberty to their original significance, this is the opera which, thanks to the music of Beethoven, gives us comfort and courage.” – Wilhelm Furtwängler

Fidelio is Beethoven’s only opera. One might wonder why such a prolific composer in every other genre wrote only one opera. Part of the reason is that Beethoven was extremely particular about the libretti he wanted to set to music. For instance, although he greatly admired Mozart’s operas, he couldn’t bring himself to work on something he saw as “frivolous”, like Don Giovanni or Die Zauberflöte, believing them to be a waste of Mozart’s talents. However, Beethoven also found the process of composing and producing Fidelio very complicated. In fact, it had to be premiered three times (in 1805, 1806 and finally in 1814) before achieving its final form and earning the success he had hoped for.

Fidelio is an opera deeply connected to Beethoven’s political beliefs. It is a cry for liberty — the same ideal that inspired his admiration for Napoleon Bonaparte and caused him to turn on Napoleon once he began to exhibit dictatorial tendencies. The opera is so closely tied to themes of freedom and justice that it was chosen to reopen the Wiener Staatsoper after World War II. It is also notoriously difficult to sing and record, as Beethoven did not seem to consider vocal limitations when writing the score, as though he were composing for musical instruments in one of his symphonies. Overall, Fidelio is far from perfect; it certainly has its flaws. But one thing is certain: Fidelio is Beethoven through and through — perhaps even more so than any of his other works.

In this article, I will list ten fantastic recordings of Fidelio that, in no particular order, would make great additions to any opera collection.

Claudio Abbado / Mahler Chamber Orchestra & Lucerne Festival Orchestra (Decca)

We begin this article with a modern 2010 live performance from the Lucerne Festival, in which Claudio Abbado conducts the work in a very intimate, intellectual and chamber-like manner. Fidelio is often played by a larger orchestra, but in this recording, Abbado demonstrates how a more scaled-down approach can highlight some of the opera’s most powerful moments. The horns in Leonore’s Act I aria, for example, have rarely sounded more delightful. The highlight after Abbado’s conducting is Jonas Kaufmann’s Florestan, even though there is always debate about the way he artificially darkens his voice. In this performance, however, one thing is beyond debate: his exceptional, introspective interpretation of the character. His effortless shifts between pianissimo and forte bring a level of nuance to Florestan rarely heard on record. Christof Fischesser (Rocco), Rachel Harnisch (Marzelline), Christoph Strehl (Jaquino) and Peter Mattei (Don Fernando) all deliver strong performances. While not individually outstanding, Nina Stemme as Leonore and Falk Struckmann as Pizarro deliver solid portrayals that allow the overall performance to succeed.

Bruno Walter / Metropolitan Opera Orchestra (Phonographe)

This 1941 live recording from the Metropolitan Opera stars Kirsten Flagstad as Leonore. Possibly the greatest singer of the role ever, the Norwegian powerhouse delivers a performance of Leonore that is full of power, intensity and determination while remaining emotionally compelling. Bruno Walter conducts at breakneck speed with fiery intensity, sometimes moving too swiftly past the deeper layers within Fidelio’s score. René Maison is a noble yet forceful Florestan and the rest of the cast complement the recording effectively.

Wilhelm Furtwängler / Wiener Philharmoniker (EMI/Warner)

In this 1950 performance at the Salzburg Festival, Flagstad once again appears as Leonore. Inevitably, her voice is weaker and less flexible than before, and she sounds slightly tired, as she was approaching the end of her career. Nevertheless, her performance is full of emotion and determination, and she seems to have a deeper understanding of the character. The main attraction of this recording, though, is Wilhelm Furtwängler’s interpretation of the piece, which is full of depth and introspection. As usual with the German maestro, it is characterised by expansive pacing. Julius Patzak is a compelling Florestan, while Elisabeth Schwarzkopf and Anton Dermota are an absolute luxury as Marzelline and Jaquino. Paul Schöffler is a reliable Pizarro and Josef Greindl is a good Rocco, albeit slightly lacking in comic flair.

Wilhelm Furtwängler / Wiener Philharmoniker (EMI/Warner)

This 1953 studio recording features Furtwängler’s signature interpretation of Fidelio, presented in excellent mono sound. Wolfgang Windgassen is superb as Florestan — although he is best known for the Heldentenor repertoire, here he sounds more youthful and lyrical, bringing grace and polish to the role. Otto Edelmann’s Pizarro is convincingly malevolent but lacks the menacing edge that the role truly demands. Martha Mödl’s Leonore is heartfelt and dramatic, although she occasionally struggles with the high notes. Gottlob Frick is brilliant as Rocco and, while Sena Jurinac and Rudolf Schock are overqualified for the roles of Marzelline and Jaquino respectively, they nonetheless deliver fine performances. Unfortunately, the spoken dialogue has been omitted from this recording.

Arturo Toscanini / NBC Symphony Orchestra (RCA)

In stark contrast to the previous two recordings, this 1944 RCA radio broadcast features Furtwängler’s rival from an opposing conducting school: The Italian maestro Arturo Toscanini. His interpretation is intense and vigorous and at times martial, with tempi that occasionally make the score feel rushed. While the cast may not be as glamorous as Furtwängler’s, it is a strong ensemble that plays to its strengths and benefits from the conductor’s leadership. Standout performances come from the two sopranos, Rose Bampton as Leonore and Eleanor Steber as Marzelline, as well as Jan Peerce’s Florestan, whose more lyrical approach brings welcome nuance to the character. Unfortunately, the spoken dialogue has also been omitted from this recording.

Ferenc Fricsay / Orchester der Bayerischen Staatsoper (Deutsche Grammophon)

In the very first stereophonic production by Deutsche Grammophon in 1957, the now underrated Ferenc Fricsay delivers an energetic and airy Fidelio, reminiscent of Mozart’s style. Over the years, there has been a tendency to treat Fidelio almost as a Wagnerian opera, but it’s important to remember that Beethoven’s only opera premiered in its original form less than two decades after Mozart’s death, making an approach like Fricsay’s a welcome addition to the discography. Leonie Rysanek’s Leonore may be imperfect vocally, but her performance is full of humanity. Ernst Haefliger demonstrates why a lyric approach to Florestan is often more effective than a Heldentenor one, especially when sung with such intelligence, grace and impeccable phrasing. Gottlob Frick sounds better as Rocco here than he did under Furtwängler and Dietrich Fischer-Dieskau’s Pizarro is arguably the best on record. Irmgard Seefried and Friedrich Lenz are solid as Marzelline and Jaquino.

Karl Böhm / Orchester der Wiener Staatsoper (Orfeo)

This live recording perfectly captures the significance of the occasion: the reopening of the Vienna State Opera in 1955 following its destruction in the Second World War, which cements Fidelio‘s status as a political opera. While it is subjective, a certain emotion runs through the entire performance, from the first note to the last. Like Fricsay, Karl Böhm conducts the work in a distinctly Mozartian manner, but with added dramatism and depth. Martha Mödl’s performance is similar to her performance in the Furtwängler recording, although her struggles with the higher notes are more evident here, while Anton Dermota exemplifies why a well-sung lyric Florestan works to perfection. The rest of the cast all perform their roles appropriately.

Karl Böhm / Metropolitan Opera Orchestra (Walhall)

Böhm’s interpretation of the piece remains largely unchanged in this live performance from the Metropolitan Opera in 1960. Although it is not tied to a significant political event as the previous recording was, it is certainly an artistic triumph, thanks in large part to the outstanding leading pair: Birgit Nilsson as Leonore and Jon Vickers as Florestan. The Swedish soprano is the spiritual successor to Kirsten Flagstad — perhaps less vulnerable, but undeniably more impetuous — while the Canadian tenor is the ideal Florestan, combining a powerful Heldentenor voice with a lyrical, nuanced approach that avoids harshness. Laurel Hurley and Charles Anthony (the Met’s great comprimario tenor for many years) are sweet and convincing as Marzelline and Jaquino. Meanwhile, Hermann Uhde (Pizarro) and Oskar Czerwenka (Rocco) deliver solid, if unremarkable, performances.

Leonard Bernstein / Wiener Philharmoniker (Deutsche Grammophon)

Leonard Bernstein conducts this 1978 Fidelio with a distinctly theatrical approach, marked by dynamism, slower tempi and a clear emphasis on the opera’s dramatic sections. Hans Sotin, a bass, struggles vocally with the higher parts of Pizarro, but the menace in his singing compensates for this. Although René Kollo has a good voice, he has some difficulty with the role of Florestan and sometimes sounds strained. Gundula Janowitz portrays Leonore as sensitive and humane, while Manfred Jungwirth delivers a compelling Rocco. The lovers, Jaquino and Marzelline, are convincingly portrayed by Lucia Popp and Adolf Dallapozza. The icing on the cake is Dietrich Fischer-Dieskau’s delightful cameo as Don Fernando at the end of the opera.

Otto Klemperer / Philharmonia Orchestra (EMI/Warner)

I lied when I said at the beginning of the article that I would list the recordings in no particular order, because I saved the best until last. Otto Klemperer’s 1962 recording of Fidelio has long been considered the definitive recording of this opera. The German maestro’s approach is profound, intricate and grand, highlighting both the few 18th-century-inspired comic elements and the heroism and passion that permeate Beethoven’s score — all without resorting to the excessively slow tempi often associated with Klemperer’s recordings. The cast is top-tier: Christa Ludwig’s Leonore is so exceptional that it’s almost unbelievable that she’s a mezzo, while Jon Vickers delivers an almost perfect performance as Florestan. Gottlob Frick gives his finest performance as Rocco, Walter Berry is a solid Pizarro, and the young lovers, Ingeborg Hallstein and Gerhard Unger, are highly effective. Franz Crass is also brilliant as Don Fernando.

Bonus

If you’re interested in experiencing the opera as it was before the 1814 modifications that led to its success, this 1976 recording of Leonore is an excellent introduction. Although it undoubtedly feels unnecessarily long compared to the final version of Fidelio, there are still parts that are worth hearing. For example, the duet between Leonore and Florestan, ‘O namenlose Freude’, feels more dramatic and climactic in this version. This superb recording is conducted by Herbert Blomstedt and features a strong lead pairing: Edda Moser and Richard Cassilly.