Beethoven · Fidelio (2014)
A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art.
Director: Deborah Warner
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Peter Mattei as Don Fernando |
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Falk Struckmann as Don Pizarro |
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Klaus Florian Vogt as Florestan |
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Anja Kampe as Leonore |
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Kwangchul Youn as Rocco |
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Mojca Erdmann as Marzelline |
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Florian Hoffmann as Jaquino |
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Oreste Cosimo as First prisoner |
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Devis Longo as Second prisoner |
| Directing | Deborah Warner | Director |
| Costume & Make-Up | Chloe Obolensky | Costume Design |
| Lighting | Jean Kalman | Lighting Manager |
| Sound | Daniel Barenboim | Conductor |
