Gebel, who isn’t mentioned in any of the current music encyclopedias, clearly proves–on evidence of this very fine Passion–that he was worthy of acclaim (confirmed by various contemporaty sources) and was capable of original ideas and possessed the creative resources to write music of sustained drama and interest. While this passion setting is nowhere near as powerfully affecting in either the spiritual or theatrical sense as those of Bach, it does offer consistently appealing and emotionally meaningful musical realizations, spread among numerous arias, choral movements, and chorales. Gebel also was quite adept at colorful scoring, exemplified in his fascinating combinations of instruments such as horns, oboe, bassoon, violins (often pizzicato), and theorbo (highlighted in a solo during one of the arias late in the work).
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon
Beethoven’s only opera, Fidelio (1814), had a difficult birth, and this recording allows us to hear the composer’s first thoughts when the work was unveiled as Leonore in 1805. The most striking thing about Leonore is that it contains a lot more music and certain characters—most notably Marzelline—have a more important role. The later version is considerably tauter, but there’s much to enjoy here, not least René Jacobs’ natural dramatic instincts. Marlis Petersen and Maximilian Schmitt make an impressive central couple while Robin Johannsen is a delightful Marzelline. The other roles are strongly cast, making a powerful case for this Beethoven rarity.
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon