by usia review
Beethoven’s Fidelio at the CCB. Conjugal Love, Fidelity, and the Triumph over Injustice
Fidelio is the only opera composed by Ludwig van Beethoven, originally titled Leonore. With a libretto by Josef Sonnleithner, the work underwent several revisions. The final and definitive version—reduced to two acts—was completed in 1814, after earlier versions in 1805 and 1806.
The first version premiered in Vienna in 1805, at a moment of political turmoil, with Napoleonic troops occupying the city and sitting in the audience. The opera’s complex structure—particularly the division of the first act into two scenes—was later respected even by Gustav Mahler in his productions.
The Production
This performance at the Centro Cultural de Belém (CCB) was presented in partnership with the Teatro Nacional de São Carlos, originating from Hamburg. The staging was by Georges Delnon.
The opera tells the story of Leonore, wife of the political prisoner Florestan, who disguises herself as a man—under the name Fidelio—to infiltrate the prison where her husband is unjustly held by the tyrant Pizarro.
When the curtain rises, the audience is confronted with a modern interior, featuring large panoramic windows overlooking a garden. This scenic concept, aesthetically decorative and in constant movement, remains largely detached from the historical and dramatic context of the opera. Such an approach has unfortunately become common in contemporary opera productions worldwide.
The prevailing philosophy among many stage directors appears to be the pursuit of innovation at all costs—encouraging audiences to “listen with their eyes” rather than their ears—possibly in an attempt to attract younger or less opera-literate audiences. This often comes at the expense of fidelity to the libretto and historical setting.
As the opera progresses, sliding panels and drawer-like spaces gradually transform the set into a prison environment. While this visual evolution brings some coherence, it does not fully compensate for the conceptual dissonance established at the outset.
Vocal and Musical Performance
The title role of Fidelio (Leonore) was sung by soprano Gabriela Scherer. While musically competent, the interpretation lacked the brilliance, vocal breadth, and dramatic intensity required for this demanding role, which ideally calls for a true dramatic soprano.
Her husband Florestan was performed by lyric tenor Maximilian Schmitt, whose voice, though refined, lacked the necessary darkness and heroic weight. The role ultimately demands a more Heldentenor approach, especially in the great dungeon aria “Gott! Welch Dunkel hier!”.
Among the supporting roles:
Rocco – Joshua Bloom (baritone)
Marzelline – Susana Gaspar
Pizarro – Boaz Daniel
Jaquino – Leonel Pinheiro
The cast as a whole showed professionalism, though vocal balance and dramatic cohesion were uneven.
Orchestra and Chorus
The orchestra, conducted by Maestro Graeme Jenkins, played with vigor and clarity, capturing Beethoven’s symphonic intensity. However, there were moments of imbalance between pit and stage, with occasional lack of coordination between orchestra and singers.
The chorus, reinforced for this production, delivered a powerful and resonant sound—particularly effective in the celebrated Prisoners’ Chorus, embodying the humanistic and revolutionary spirit that lies at the heart of Fidelio.
Conclusion
Despite staging choices that often conflicted with the opera’s historical and moral framework, this production reaffirmed Fidelio as a monumental work of ethical and musical significance. Beethoven’s vision of conjugal love, moral courage, and the triumph of justice over tyranny remains profoundly relevant.
At its core, Fidelio is not merely an opera, but a humanistic manifesto—one that continues to challenge both artists and audiences to reflect on freedom, loyalty, and dignity.
@CCB @TNSC #FIDELIO #Beethoven
Thanks to: TNSC;CCB, Sofia Cardim