Cheryl Studer sings "Abscheulicher! ... Komm, Hoffnung" - FIDELIO

Abscheulicher! Wo eilst du hin? … Komm, Hoffnung, lass den letzten Stern
This comes from a February 1996 live radio broadcast from Lyon, France. Later that year Studer sang Leonore/Fidelio at the Salzburg Festival, under Solti. For example:
• {On Film} FIDELIO Absc...
• {On Film} FIDELIO Er s...
In 2002 she sang the role again, in Thessaloniki, Greece. These last were apparently filmed:
• {Video Snippet} Cheryl...

[@wewper]

Most Leonores-even the best-vocalized ones like Ludwig, Janowitz, and Norman-miss the bite that should form part of a truly successful Abscheulicher. This is a statement of resolve, and that resolve is not a quiet one. Yes, the aria has a slow middle section, but it is bookended by an introduction and coda that are fierce and to me fall just short of a mad scene. After all, it is sung by a woman who has decided to rescue her husband by dressing as a man and breaking into prison. That is mad-mad as in insane, and mad as in angry.
Studer captures all of this, particularly clearly in the Solti video. To me, she also sings the aria better there, although her big note at the end is much more secure here.

[@doGreatartistsgrowontrees]

In agreement. The ultimate goal of a musician, be she singer or instrumentalist, should be above all to express/project/communicate what the music is about, what is behind the notes and markings on the printed page, and not just to spin notes. Sadly this is what we are mostly up against today. As you wrote, this scene is a mad and desperate situation but also dangerous. And Studer indeed captures all of that, as she always does in anything she sings, often throwing caution to the wind and with a degree of freedom and spontaneity that is nothing short of remarkable.