Beethoven: Fidelio (1999)

Beethoven's Fidelio On Naxos

Beethoven had an extraordinarily difficult time in the composition of Fidelio, opus 72, his only opera. He first worked on Fidelio during 1803-1804. The opera received its first performance in Vienna in 1805 but closed after only three performances. Beethoven was urged to shorten the opera, and reluctantly he agreed. The revised version was produced in 1806 but closed after only one performance. Finally, Beethoven revisited Fidelio in 1814 and spent months of heavy effort in revising it yet again. The revised version was performed in 1814. This time it succeeded, and the work has been part of the opera repertory ever since.

When he revised Fidelio in 1814, Beethoven remarked: " I could compose something new far more quickly than patch up the old... I have to think out the entire work again." Anyone who has done substantial writing or editing can understand Beethoven's difficulties.

For all its difficulties, even in the final version, Fidelio is inspired music and one of the essential works of Beethoven's maturity. Beethoven worked heroically to compose his opera, and Fidelio is heroic in its themes. It tells the story of a young woman named Leonore who disguises herself as a man with the name of Fidelio and risks her life to rescue her husband, Florestan, from a dungeon where he has been held two years as a political prisoner. The work opens with a background of human suffering and ends in triumph as Leonore succeeds in entering the prison and rescuing Florestan, at the last moment, from murder by Pizarro, the governor. The work is celebrates human freedom and the treasures of winning a loving wife, both themes dear to Beethoven. It also celebrates the wise ruler who appears in the person of Don Fernando in the final scene of the opera to set matters aright. As the work progresses, it becomes less and less a characterization of specific people, Leonore and Florestan, and more an idealization of human freedom and of matrimonial love.

Fidelio is full of music both heroic and lyrical. Beethoven's lyricism, and his writing for the human voice difficult as it is, are often underestimated. Beethoven wrote four overtures for his opera. His final attempt, the "Fidelio" overture, was written for the 1814 performance and masterfully sets the stage for what follows. There is a beautiful "canonic" quartet early in the opera (no. 3) and a moving chorus for the prisoners at the end of the first act when Leonore prevails upon the prison guard to allow them into the courtyard for air (no 10) Each of the major characters in the opera has a solo aria, and there is a collection of duets, trios, and two quartets. Florestan has a long, moving aria at the beginning of the second act (no. 11) lamenting his fate and recalling happier days with Leonore. There are rousing choruses of triumph in the final scene after Leonore has rescued Florestan.

There are many recordings of Fidelio featuring famous conductors and soloists, but I found this Naxos CD first-rate. The opera is performed by a small chamber orchestra, the Nicolaus Esterhazy Sinfonia, conducted by Michael Halasz. (The Esterhazy Sinfonia has also recorded very well the nine Beethoven symphonies on Naxos, but I found this Fidelio more impressive than the symphonies.) Soprano Inga Nielsen sings Leonore and performs with clarity and nobility. The role does not present an easy vocal line and Ms. Nielsen signs believably. Tenor Gosta Winbergh sings Florestan. His voice is rather light, but he brings passion and force to his great aria at the beginning of act 2. The scene in the dungeon where Leonore reveals her identity and comes to her husband's aid against Pizarro is dramatically effective. Alan Titus, baritone, as the villanous Pizaro brings the character to life in his aria in the first act (no.7)

For listeners new to opera or to Beethoven, this is an ideal place to start. The Naxos version sells for a budget price which should add to the incentive to explore this music. I also think there is something to be gained by coming to the music through a fine performance by relatively unknown artists. It helps the listener, particularly the new listener, focus on the score and on the singing and not worry a great deal about comparing this version with others. I think that the first priority in listening to a work of music should be -- the music. This CD may encourage new listeners to get to know Fidelio and then, if they are so inclined, to explore other versions and other music.

The CD includes a full libretto in the original German but no English translation. There is a full synopsis of each number, sufficient to allow an appreciation of the action and the arias. Altogether,this is an excellent performance of a great and inspirational work of Beethoven's maturity.

Robin Friedman