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Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt - Beethoven: Leonore, Op.72 (1977) 2 CDs, Reissue 2014

Posted By: Designol
Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt - Beethoven: Leonore, Op.72 (1977) 2 CDs, Reissue 2014

Ludwig van Beethoven - Leonore, Op.72 (1977) 2 CDs, Reissue 2014
Rundfunkchor Leipzig; Staatskapelle Dresden; Herbert Blomstedt, conductor
Edda Moser, Richard Cassilly, Theo Adam, Helen Donath, Eberhard Büchner

EAC | FLAC | Image (Cue&Log) ~ 704 Mb | Scans included | Time: 02:35:40
Genre: Classical, Opera | Label: Brilliant Classics | # 94868

At the time of its first release in 1977, this was a groundbreaking set, presenting for the first time to an international public the first thoughts – or the first extant thoughts – of Beethoven in his protracted attempts to write an opera. Subjects came and went, but the story, already the subject of two operas now consigned to historical oblivion, of a political prisoner rescued by his wife in travesti, retained an obvious and persistent appeal to a composer who had already distinguished himself – and lost not a few clients in the process – for his passionate embrace of enlightenment, even revolutionary ideals.

But when first performed in Vienna in 1805, the opera, named after the woman ahead of her time, had a frosty reception, not least because Vienna was under French military occupation, and most of the audience were French officers who could have taken none too favourably to the critique of a brutal dictatorship which can only be resisted through the last powers of marital love. Revisions followed in 1806, but the version now universally known and loved was finally created and heard in 1814, by which time Beethoven’s own style had undergone a sea-change towards concision and dislocation. Fidelio largely follows those changes, so that the earlier version is much fuller, in three acts, perhaps more of its time but with much music that no lover of Beethoven should miss.

Other information:
- Reissue of this near legendary recording of Beethoven’s Leonore (the first version of what later became Fidelio).
This recording from 1977 was the first recording of this opera, and since then remains a benchmark.
- Featuring the best singers of the time: Eberhard Büchner, Edda Moser, Edith Mathis, Theo Adam, Karl Ridderbusch, and the Staatskapelle Dresden conducted by Herbert Blomstedt.
- “I was enthralled by this performance, which I would recommend to all Beethovenites and all opera-lovers.” (Gramophone, August 1977)

Fidelio isn’t just an opera that took Beethoven nine years and three tries to turn into a masterpiece. It is a manifesto for the freedom of mankind—the greatest in classical music—and that’s what the composer was striving for. Every generation, including his own, has viewed him as a titan. Kenneth Clark, in his famous BBC series Civilization , lifted Beethoven as high as Michelangelo. This underlines why the original 1805 version of the opera, titled Leonore , contains nothing that wasn’t improved in the final 1814 version, not because Beethoven was a lesser composer then but because his aspirations were still unrealized. He had to pull a slender willow out of the ground so that an oak might grow.

Here we have a budget reissue of the 1976 recording that has held pride of place since it first appeared (the original CD release on Berlin Classics is still available). Herbert Blomstedt grasps the heroic cast of Leonore , imperfect as it is, and his principals, especially Edda Moser in the title role and Richard Cassily as Florestan, sing on the same scale as they would in Fidelio . So does the rest of the splendid cast, and the fine recorded sound allows us to luxuriate in the Staatskapelle Dresden.

I prefer this account over the only other recording of stature to emerge in the intervening decades, under John Eliot Gardiner (DG), where Beethoven’s strong colors are reduced to pastels and drama gets washed out in prettiness. There are admirers of Gardiner’s period approach, which baffles me. In “Gott! welch’ Dunkel heir” Gardiner’s Florestan doesn’t cry out against the blackness of his dungeon; he’s asking the waiter for a flashlight to read the menu.

As for the musical differences between 1805 and 1814, anyone familiar with Fidelio will recognize all the standard numbers, some basically untouched, others modified a little or a lot (Leonore’s “Abscheulicher!” recitative had yet to be written, and also the thrilling cabaletta-like conclusion to Florestan’s aria). The music that Beethoven deleted when Leonore was transformed into Fidelio mostly focused on the Rocco, Jaquino, and Marzelline subplot. One listens expectantly for anything that rises to the level of the Leonore Overture No. 2, but in vain. Vocal fanciers may be intrigued by the bel canto flourishes at the end of Leonore’s aria. This only underscores, however, the unique music drama Beethoven eventually hammered out.

If you want a minutely detailed description of how the two operas differ, Gardiner provides one in the program booklet to his recording. But be aware that his performing edition contains some cut-and-paste of his own devising, and instead of giving us the spoken dialogue, a narrator substitutes a running commentary (imagine doing The Magic Flute this way and you’ll understand what’s lost).

After nearly 40 years, Blomstedt still provides a satisfying listen. There’s more Beethoven in the original three-act version of the opera, but a cook who stretches the soup isn’t considered a great chef. Leonore is diluted Fidelio , which is why we rarely hear it.

Review by Huntley Dent, Fanfare


As is well known, Beethoven’s only opera Fidelio was pretty much of a failure at its first performances in 1805-06. In 1814 he returned to the score and subjected it to a major overhaul in which only one number – the jaunty little march to accompany the entry of Pizarro – remained totally unchanged. It was in this later revised form that Fidelio proceeded to establish itself in Germany and eventually throughout the world. Apart from an abortive attempt made at the Metropolitan Opera in New York to provide the score with recitatives to replace the original spoken dialogue, the work remained undisturbed by the excavations of scholarship although Beethoven’s original manuscript survived. In fact one number went missing – but more of that later. It was not until the period after the Second World War that attempts were made to present Beethoven’s original thoughts – now given the inauthentic title of Leonore to distinguish it from the later revision — although it appears Beethoven might have preferred it were it not for potential confusion with other settings of the same text. In this format it was given in the context of various stage and concert performances – I remember two such in London during the Beethoven centenary year of 1970. It was not included in DG’s comprehensive Beethoven Edition issued that year, and the set here was the first attempt at a commercial recording of the score, originally issued on LP in 1977.

It has to be said that practically all of Beethoven’s amendments to the original score were undoubted improvements. Ernest Newman, in More Opera Nights, thought that the original ending of Florestan’s aria was better in the original form than the more upbeat revision. The original version of the opening line of the duet O namenlose Freude! with its vocal lines soaring up above the stage may have been more practicable as amended, but is undeniably less exciting. Indeed once the listener has heard Beethoven’s first thoughts on this duet, they may find it difficult to dismiss them. That said, in the dramatic context of Leonore the issue of the conflict is far less obviously resolved than in Fidelio, since in the earlier version Rocco has taken Leonore’s pistol from her and when the reunited lovers first hear the approaching crowd they fear the worst. This is the one point where Beethoven actually altered the dramatic staging of the opera, rightly considering that the liberation of the prisoners was an act better performed in the open air of the courtyard than in the confines of Florestan’s dungeon.

There is however, more to be gained from listening to Leonore — as an occasional alternative to the later Fidelio — than what Lord Harwood described in Opera on Record as “the sheer quixotic pleasure of listening to Beethoven’s first thoughts.” In the process of revision Beethoven deleted altogether two numbers (a duet and a trio) which would undoubtedly have sat uneasily in the revised score, but which his friends besought him to retain. No music produced by Beethoven in his mature years deserves to be neglected, even if Beethoven saw no place for it in his final version. There is one other minor textual problem; apparently the original version of the Act Two melodrama was removed from the score during the run of the 1805-6 performances. The revised version which has perforce to be employed in its place contains a back reference to the final version of Florestan’s aria which has not been heard in Leonore. This is a minor consideration, and not much could have been done about it.

The casting of this set has been undertaken with considerable care, although it is not entirely satisfactory. Three of the singers had already set down their interpretations in complete recordings of Fidelio: Theo Adam as Pizarro in the Karl Böhm set of 1969 (also recorded in Dresden), and Helen Donath and Karl Ridderbusch as Marzelline and Rocco in the Karajan set of 1970. All are eminently satisfactory, as is Eberhard Büchner as Jacquino; and the presence of Reiner Goldberg and Siegfried Lorenz as the two Prisoners is luxury casting indeed. Hermann Christian Polster is not the most imposing of Ministers, kindly rather than authoritative, but he is steady and pleasant to hear.

Doubts do however arise about the two principals. Richard Cassilly is a forthright Florestan, but the sound of his voice is not altogether sympathetic with an occasionally rather plangently metallic edge, and his opening cry of “Gott!” hardly grabs the attention. Edda Moser seems to be slightly over-parted in the title role, although she does have the agility to negotiate the more coloratura aspects which Beethoven toned down considerably in Fidelio. She blends well with Donath in their duet Um in die Ehe which Beethoven afterwards cut from the score. These two and Büchner are charming in the similarly omitted trio Ein Mann ist bald genommen. Adam also comes over well in the barnstorming aria that Beethoven originally composed for Pizarro to conclude Act Two. The dialogue is well delivered by the singers themselves. All of them, with exception of Cassilly, are native German-speakers. It is tracked separately for those who wish to avoid it.

When DG came to prepare their CD Beethoven Edition in 1997 they included Leonore in a historically informed performance conducted by John Eliot Gardiner. That recording constitutes the principal competitor to Blomstedt’s set. Gardiner uses generally lighter-weight singers, and his choice of material (including a different Prelude to Act Two) shows some variations from the edition employed by Blomstedt. A number of small revisions are based on Beethoven’s various amendments. He also considerably abridges the spoken dialogue, with the result that his recording — with generally faster speeds — runs to some fifteen minutes less than Blomstedt. A later recording conducted by Marc Soustrot describes itself as the world première recording of the “1806 version” – that is, after Beethoven’s initial revisions but before the wholesale overhaul of the score undertaken eight years later. The result is a somewhat uneasy compromise between the 1805 Leonore and the 1814 Fidelio — neither one thing nor the other.

In the end if you want to hear Leonore as Beethoven originally conceived it, with the additional material he later discarded – and it is a most interesting journey of discovery – choice comes down to Gardiner and Blomstedt. Personal preference may safely be employed as the yardstick to judge between the former, a swifter traversal of the score with a lighter-voiced cast and period instruments, and the latter with a more central Fidelio cast and a more robust approach which unapologetically places the work in the centre of the Beethovenian canon.

Brilliant Classics, sometimes remiss about such things, provide a full libretto online as well as a substantial synopsis and a useful historical note. If you want Leonore as far as possible in the form that Beethoven originally conceived it — and without Gardiner’s sometimes controversial amendments — then this Blomstedt recording remains eminently satisfactory.

Review by Paul Corfield Godfrey, MusicWeb-International.com


Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt - Beethoven: Leonore, Op.72 (1977) 2 CDs, Reissue 2014



Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt - Beethoven: Leonore, Op.72 (1977) 2 CDs, Reissue 2014



Don Fernando - Hermann Christian Polster
Don Pizarro - Theo Adam
Florestan - Richard Cassilly
Leonore - Edda Moser
Rocco - Karl Ridderbusch
Marzelline - Helen Donath
Jaquino - Eberhard Büchner

Rundfunkchor Leipzig
Staatskapelle Dresden
Herbert Blomstedt conductor

Tracklist:

CD1:

01. Overture (14:02)
02. Act 1 - Fidelio kommt nicht zuruck! (Marzelline) (00:35)
03. Act 1 - No.1 Aria: O war' ich schon mit dir vereint (Marzelline) (04:32)
04. Act 1 - Wenn ich diese Tur nicht (Jaquino, Marzelline) (00:23)
05. Act 1 - No.2 Duet: Jetzt, Schatzchen (Jaquino, Marzelline) (05:04)
06. Act 1 - Hore, Jaquino (Rocco, Jaquino, Marzelline) (02:00)
07. Act 1 - No.3 Trio: Ein Mann ist bald genommen (Rocco, Jaquino, Marzelline) (03:40)
08. Act 1 - Ist Fidelio noch nicht nach Hause gekommen (Rocco, Jaquino, Marzelline) (01:18)
09. Act 1 - No.4 Canon (Quartet): Mir ist so wunderbar (Rocco, Jaquino, Marzelline) (04:52)
10. Act 1 - Hore, Fidelio (Rocco, Marzelline, Leonore) (00:48)
11. Act 1 - No.5 Aria: Hat man nich auch Gold beneiben (Rocco) (02:46)
12. Act 1 - Ihr konnt das leicht sagen (Rocco, Marzelline, Leonore) (02:37)
13. Act 1 - No.6 Trio: Gut, Sonnchen, gut (Rocco, Marzelline, Leonore) (07:08)
14. Act 2 - No.7 March (01:57)
15. Act 2 - Drei Schildwachten auf den Wall (Pizarro, Rocco) (01:35)
16. Act 2 - No.8 Aria with Chorus: Ha! Welch ein Augenblick! (Pizarro, Rocco) (02:58)
17. Act 2 - Rocco! (Pizarro, Rocco) (00:09)
18. Act 2 - No.9 Duet: Jetzt, Alter, jetzt hat es Eile! (Pizarro, Rocco) (04:59)
19. Act 2 - Nun ist es endlich entschieden (Marzelline, Leonore) (00:09)
20. Act 2 - No.10 Duet: Um in der Ehe froh zu leben (Marzelline, Leonore) (06:05)
21. Act 2 - Sie doch, wie du so schnell (Marzelline, Leonore) (01:17)
22. Act 2 - No.11 Recitative & Aria: Ach, brich noch nicht (Leonore) (08:18)

CD2:

01. Act 2 - No.12 Finale: O welche Lust! (Chorus of the Prisoners) (08:38)
02. Act 2 - Entfernt euch jetzt! (Rocco, Leonore) (02:52)
03. Act 2 - Wir mussen gleich zu Werke schreiten (Rocco, Leonore, Marzelline, Pizarro) (03:45)
04. Act 2 - Auf euch nur will ich bauen (Pizarro, Chorus) (03:49)
05. Act 3 - No.13 Recitative & Aria: Gott! Welch dunkel hier! (Florestan) (10:56)
06. Act 3 - No.14 Melodrama & Duet: Wie kalt ist es (Leonore, Rocco) (06:00)
07. Act 3 - Er erwacht! (Leonore, Rocco, Florestan) (02:13)
08. Act 3 - No.15 Trio: Euch werde Lohn in besser'n Welten (Florestan, Rocco, Leonore) (06:48)
09. Act 3 - Alles ist bereit (Rocco, Leonore, Pizarro) (00:32)
10. Act 3 - No.16 Quartet: Er sterbe! (Pizarro, Florestan, Leonore, Rocco) (04:37)
11. Act 3 - Die Waffe hab'ich mir (Leonore) (00:13)
12. Act 3 - No.17 Recitative & Duet: Ich kann mich noch nicht fassen (Florestan, Leonore) (09:26)
13. Act 3 - O Leonore, sprich! (Florestan, Leonore) (00:34)
14. Act 3 - No.18 Finale: Zur Rache (Chorus, Leonore, Florestan, Rocco, Don Fernando) (05:06)
15. Act 3 - O Gott! O welch ein Augenblick! (Leonore, Marzelline, Florestan, Don Fernando) (05:04)
16. Act 3 - Wie lange habt Ihr sie getragen? (Don Fernando, Florestan, Rocco, Chorus) (02:04)
17. Act 3 - Preist mit hoher Freude Glut (Chorus) (00:39)
18. Act 3 - Wer ein solches Weib errungen (Florestan, Marzelline, Jaquino, Rocco, Don Fernando, Chorus) (04:54)


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 22. August 2015, 18:09

Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt / Beethoven - Leonore - CD1

Used drive : HL-DT-STDVDRAM GU70N Adapter: 1 ID: 0

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

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


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foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2016-06-10 14:19:02

––––––––––––––––––––––––––––––––––––––––
Analyzed: Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt / Beethoven - Leonore - CD1
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.20 dB -20.13 dB 14:03 01-Overture
DR16 -15.21 dB -35.30 dB 0:35 02-Act 1 - Fidelio kommt nicht zuruck! (Marzelline)
DR13 -0.80 dB -19.71 dB 4:33 03-Act 1 - No.1 Aria: O wдr' ich schon mit dir vereint (Marzelline)
DR15 -4.19 dB -28.53 dB 0:23 04-Act 1 - Wenn ich diese Tьr nicht (Jaquino, Marzelline)
DR13 -0.28 dB -18.68 dB 5:04 05-Act 1 - No.2 Duet: Jetzt, Schдtzchen (Jaquino, Marzelline)
DR17 -0.34 dB -26.43 dB 2:00 06-Act 1 - Hцre, Jaquino (Rocco, Jaquino, Marzelline)
DR13 -1.74 dB -19.93 dB 3:41 07-Act 1 - No.3 Trio: Ein Mann ist bald genommen (Rocco, Jaquino, Marzelline)
DR19 -9.18 dB -35.01 dB 1:18 08-Act 1 - Ist Fidelio noch nicht nach Hause gekommen (Rocco, Jaquino, Marzelli…
DR14 -1.22 dB -23.17 dB 4:52 09-Act 1 - No.4 Canon (Quartet): Mir ist so wunderbar (Rocco, Jaquino, Marzelli…
DR18 -9.88 dB -33.23 dB 0:48 10-Act 1 - Hцre, Fidelio (Rocco, Marzelline, Leonore)
DR14 -1.03 dB -20.81 dB 2:47 11-Act 1 - No.5 Aria: Hat man nich auch Gold beneiben (Rocco)
DR19 -7.89 dB -35.82 dB 2:38 12-Act 1 - Ihr kцnnt das leicht sagen (Rocco, Marzelline, Leonore)
DR13 -0.23 dB -17.86 dB 7:08 13-Act 1 - No.6 Trio: Gut, Sцnnchen, gut (Rocco, Marzelline, Leonore)
DR12 -4.12 dB -20.07 dB 1:58 14-Act 2 - No.7 March
DR19 -1.39 dB -28.35 dB 1:35 15-Act 2 - Drei Schildwachten auf den Wall (Pizarro, Rocco)
DR12 -0.13 dB -15.55 dB 2:58 16-Act 2 - No.8 Aria with Chorus: Ha! Welch ein Augenblick! (Pizarro, Rocco)
DR22 -9.80 dB -33.33 dB 0:09 17-Act 2 - Rocco! (Pizarro, Rocco)
DR13 -0.24 dB -18.94 dB 5:00 18-Act 2 - No.9 Duet: Jetzt, Alter, jetzt hat es Eile! (Pizarro, Rocco)
DR16 -15.28 dB -32.90 dB 0:10 19-Act 2 - Nun ist es endlich entschieden (Marzelline, Leonore)
DR12 -0.96 dB -18.37 dB 6:05 20-Act 2 - No.10 Duet: Um in der Ehe froh zu leben (Marzelline, Leonore)
DR17 -2.29 dB -26.75 dB 1:17 21-Act 2 - Sie doch, wie du so schnell (Marzelline, Leonore)
DR11 -0.34 dB -15.80 dB 8:18 22-Act 2 - No.11 Recitative & Aria: Ach, brich noch nicht (Leonore)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 22
Official DR value: DR15

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 617 kbps
Codec: FLAC
================================================================================


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 22. August 2015, 21:41

Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt / Beethoven - Leonore - CD2

Used drive : HL-DT-STDVDRAM GU70N Adapter: 1 ID: 0

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

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


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No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 4) [B7591727] (AR v2)
Track 2 accurately ripped (confidence 4) [97865C5C] (AR v2)
Track 3 accurately ripped (confidence 4) [98604BDD] (AR v2)
Track 4 accurately ripped (confidence 4) [060BDE31] (AR v2)
Track 5 accurately ripped (confidence 4) [398C82BF] (AR v2)
Track 6 accurately ripped (confidence 4) [15CD51DA] (AR v2)
Track 7 accurately ripped (confidence 4) [00F9069E] (AR v2)
Track 8 accurately ripped (confidence 4) [D8DE5411] (AR v2)
Track 9 accurately ripped (confidence 4) [7E30B114] (AR v2)
Track 10 accurately ripped (confidence 4) [A0A18BD3] (AR v2)
Track 11 accurately ripped (confidence 4) [99BAE55E] (AR v2)
Track 12 accurately ripped (confidence 4) [19868D6E] (AR v2)
Track 13 accurately ripped (confidence 4) [65CC040B] (AR v2)
Track 14 accurately ripped (confidence 4) [9CCE4550] (AR v2)
Track 15 accurately ripped (confidence 4) [C3DEA483] (AR v2)
Track 16 accurately ripped (confidence 4) [964239F0] (AR v2)
Track 17 accurately ripped (confidence 4) [B655EA5B] (AR v2)
Track 18 accurately ripped (confidence 4) [E333D914] (AR v2)

All tracks accurately ripped

End of status report

==== Log checksum ADA4D436754A0714B8EF123C9001DA9E3CFFD2453E5D2058797BFDEF594AEFD7 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2016-06-10 14:19:25

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Analyzed: Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt / Beethoven - Leonore - CD2
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DR Peak RMS Duration Track
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DR13 -1.04 dB -20.65 dB 8:38 01-Act 2 - No.12 Finale: O welche Lust! (Chorus of the Prisoners)
DR13 -1.08 dB -19.04 dB 2:52 02-Act 2 - Entfernt euch jetzt! (Rocco, Leonore)
DR12 -0.53 dB -18.51 dB 3:46 03-Act 2 - Wir mьssen gleich zu Werke schreiten (Rocco, Leonore, Marzelline, Piz…
DR11 -0.10 dB -14.00 dB 3:50 04-Act 2 - Auf euch nur will ich bauen (Pizarro, Chorus)
DR13 -0.26 dB -18.28 dB 10:57 05-Act 3 - No.13 Recitative & Aria: Gott! Welch dunkel hier! (Florestan)
DR13 -0.97 dB -21.96 dB 6:01 06-Act 3 - No.14 Melodrama & Duet: Wie kalt ist es (Leonore, Rocco)
DR20 -1.02 dB -31.48 dB 2:13 07-Act 3 - Er erwacht! (Leonore, Rocco, Florestan)
DR11 -1.28 dB -18.25 dB 6:49 08-Act 3 - No.15 Trio: Euch werde Lohn in besser'n Welten (Florestan, Rocco, Leo…
DR19 -3.99 dB -31.69 dB 0:32 09-Act 3 - Alles ist bereit (Rocco, Leonore, Pizarro)
DR11 -0.15 dB -15.05 dB 4:38 10-Act 3 - No.16 Quartet: Er sterbe! (Pizarro, Florestan, Leonore, Rocco)
DR3 -3.39 dB -27.80 dB 0:13 11-Act 3 - Die Waffe hab'ich mir (Leonore)
DR12 -0.64 dB -18.84 dB 9:27 12-Act 3 - No.17 Recitative & Duet: Ich kann mich noch nicht fassen (Florestan, …
DR13 -6.54 dB -31.77 dB 0:35 13-Act 3 - O Leonore, sprich! (Florestan, Leonore)
DR12 -0.80 dB -18.28 dB 5:07 14-Act 3 - No.18 Finale: Zur Rache (Chorus, Leonore, Florestan, Rocco, Don Ferna…
DR11 -1.89 dB -17.51 dB 5:04 15-Act 3 - O Gott! O welch ein Augenblick! (Leonore, Marzelline, Florestan, Don …
DR11 -1.30 dB -16.34 dB 2:04 16-Act 3 - Wie lange habt Ihr sie getragen? (Don Fernando, Florestan, Rocco, Cho…
DR9 -0.14 dB -12.82 dB 0:39 17-Act 3 - Preist mit hoher Freude Glut (Chorus)
DR11 -0.39 dB -16.12 dB 4:54 18-Act 3 - Wer ein solches Weib errungen (Florestan, Marzelline, Jaquino, Rocco,…
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Number of tracks: 18
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 636 kbps
Codec: FLAC
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Rundfunkchor Leipzig, Staatskapelle Dresden, Herbert Blomstedt - Beethoven: Leonore, Op.72 (1977) 2 CDs, Reissue 2014

All thanks to original releaser

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