I love Lenore #3 before the finale. I grew up with it and it's so unbelievably exciting that I have always felt a hole when its not there....a BIG hole! Almost worse was Leinsdorf who took away the ending by blending it into the final scene without interuption. I'm new to this blog stuff and not sure how clean you have to be but the absence of that final climax...?? I've read the stated opinion that it's just wrong to include #3 at that spot and wondered how Bohm, and Haitink and Tennstedt had made such terrible decisions. Fidelio is not, to my mind, an organic masterpiece...not a cohesive whole that leads on seamlessly or even propulsively to the end. It's a mixed bag of highs and not-so-highs. For all of the beauty and power of the quartet and the chorus and Florestan's aria we also get Rocco's stuff and Absheulichers "almost" greatness and Pizarro's cartoonish bad man. One more high, the biggest of all, doesn't strike me as wrong at all.