Beethoven Fidelio LISE DAVIDSEN · CHRISTIAN ELSNER · GEORG ZEPPENFELD CHRISTINA LANDSHAMER · JOHANNES MARTIN KRÄNZLE GÜNTHER GROISSBÖCK · CORNEL FREY DRESDNER PHILHARMONIE · MAREK JANOWSKI Ludwig van Beethoven (1770-1827) 12 Dialogue: Wo sind die Depeschen? (Pizarro, Rocco) 0. 39 13 No. 7, Aria with Chorus: Ha! Ha! Ha! Welch ein Augenblick 3. 05 Fidelio Op. 72 (1814) (Pizarro, Guard’s Chorus) Opera in two acts 14 Dialogue: Hauptmann! (Pizarro, Rocco) 0. 17 arranged freely after the French libretto by Jean Nicolas Bouilly 15 No. 8, Duet: Jetzt, Alter, jetzt hat es Eile! (Pizarro, Rocco) 4. 38 by Joseph Sonnleithner, edited by Friedrich Treitschke 16 No. 9, Recitative and Aria: Abscheulicher! Wo eilst du hin? (Leonore) 7. 04 17 Dialogue: Rocco, ich ersuchte Euch (Leonore, Marzelline, Rocco) 0. 30 Dialogues adapted by Katharina Wagner and Daniel Weber 18 No. 10, Finale Act 1: O welche Lust (Prisoner’s Chorus) 6. 22 19 Recitative and Duet: Nun sprecht, wie ging’s? (Leonore, Rocco) 4. 38 CD I 20 Recitative: Ach, Vater, Vater eilt! (Marzelline, Rocco, Jaquino, Leonore) 0. 40 21 Verweg’ner Alter! (Pizarro, Rocco) 1. 43 1 Overture 6. 33 22 Leb’ wohl, du warmes Sonnenlicht (The prisoners, Marzelline, Leonore, 3. 47 Jaquino, Pizarro, Rocco) ACT 1 Total playing time: 66. 10 2 No. 1, Duet: Jetzt, Schätzchen, jetzt sind wir allein (Jaquino, Marzelline) 4. 26 3 Dialogue: Jaquino! Jaquino! (Rocco, Marzelline, Jaquino) 0. 28 CD II 4 No. 2, Aria: O wär’ ich schon mit dir vereint (Marzelline) 3. 40 5 Dialogue: Die Stunde naht (Rocco, Marzelline, Leonore) 0. 42 ACT 2 6 No. 3, Quartet: Mir ist so wunderbar (Marzelline, Leonore, Rocco, Jaquino) 4. 47 7 Dialogue: Höre, Fidelio (Rocco, Marzelline, Leonore) 0. 25 1 No. 11, Introduction, Recitative and Aria: Gott! Welch Dunkel hier! 8. 59 8 No. 4, Aria: Hat man nicht auch Gold beineben (Rocco) 2. 27 (Florestan) 9 Dialogue: Es wäre mir so lieb (Leonore, Rocco, Marzelline) 0. 59 2 No. 12, Melodrama: Wie kalt ist es (Leonore, Rocco) 1. 39 10 No. 5, Trio: Gut, Söhnchen, gut (Rocco, Leonore, Marzelline) 6. 06 3 Duet: Nur hurtig fort, nur frisch gegraben (Rocco, Leonore) 3. 40 11 No. 6, March 2. 04 4 Dialogue: Er erwacht! (Leonore, Florestan, Rocco) 1. 02 5 No. 13, Trio: Euch werde Lohn in besser’n Welten (Florestan, 5. 35 Florestan, prisoner Christian Elsner, Tenor Rocco, Leonore) Leonore, his wife, 6 Dialogue: Ist alles bereit? (Pizarro, Rocco) 0. 05 in male attire known as Fidelio Lise Davidsen, Soprano 7 No. 14, Quartet: Er sterbe! (Pizarro, Florestan, Leonore, Rocco) 3. 26 Rocco, chief-jailor Georg Zeppenfeld, Bass 8 Dialogue: Vater Rocco! Der Minister kommt an! (Jaquino, Rocco) 0. 05 Marzelline, his daughter Christina Landshamer, Soprano 9 Es schlägt der Rache Stunde (Leonore, Florestan, Pizarro, Rocco) 1. 15 Jaquino, doorman Cornel Frey, Tenor 10 Dialogue: Meine Leonore (Florestan, Leonore) 0. 35 Don Pizarro, Governor of the prison Johannes Martin Kränzle, Baritone 11 No. 15, Duet: O namenlose Freude! (Leonore, Florestan) 2. 51 Don Fernando, the Prime Minister Günther Groissböck, Bass-Baritone 12 Dialogue: Gute Botschaft! (Rocco) 0. 26 First prisoner Aaron Pegram, Tenor 13 No. 16, Finale: Heil sei dem Tag (Prisoner’s & People’s Chorus) 1. 58 Second prisoner Chao Deng, Bass 14 Des besten Königs Wink und Wille (Fernando & Chorus) 1. 17 15 Wohlan, so helfet! (Rocco, Pizarro, Fernando, Leonore, Marzelline, Chorus) 3. 00 16 O Gott! O Gott! (Leonore, Florestan, Fernando, Marzelline, Rocco, Chorus) 3. 19 17 Wer ein holdes Weib errungen (Chorus, Florestan, Leonore, Rocco, 3. 48 Sächsischer Staatsopernchor Dresden Marzelline, Jaquino, Fernando) Chorus Master André Kellinghaus Total playing time: 43. 09 Male voices of MDR-Rundfunkchor (Disc I, Track 13) Chorus Master Philipp Ahmann Dresdner Philharmonie Concertmaster Ralf-Carsten Brömsel Assistant to the conductor Hans Sotin Conducted by Marek Janowski Recording session at the Kulturpalast Dresden in June 2020 Fidelio concertante — an opera Fidelio, was given the opus number quartets, as well as the most powerful Triumph der ehelichen Liebe was performed exceptional project 32 and was dedicated to one particular symphony in music history to date, his on 29 March 1806 and 10 April 1806, also addressee: Countess Josephine von Brunsvik, Third (Sinfonia eroica), but he was still at the Theater an der Wien. But after two This album should have been the recording widowed Deym (1779-1821). This woman looking for a suitable opera subject. In 1804 performances, this run was terminated as of a live concert in spring 2020 with the influenced Beethoven's entire thinking and he finally chose Leonore by Jean Nicolas well. Embittered, Beethoven demanded Dresdner Philharmonie. Due to the corona feeling from 1801 until his own death in 1827 Bouilly, a story from the time of the French the score back and thus withdrew the work pandemic, the concert could not take place. like hardly anyone else. “In order to find the Revolution, which Joseph Sonnleithner from any further potential performance. Nevertheless, a “replacement miracle” was appropriate tone for her, his only beloved, translated for him. Much later, in 1814, some long-time staff possible. Two months after the cancelled the music should be as classical in scope as Other composers like Pierre Gaveaux members of the Theater an der Wien — concert, all the performers who would possible. Behind the names Florestan and (1761-1825), Ferdinando Paër (1771-1839) including the singer Johann Michael Vogl have been obliged to perform elsewhere Leonore was a second, real pair of figures: and Simon Mayr (1763-1845) also worked (1768-1840), a friend of Franz Schubert — at the time were — again due to corona — Ludwig and Josephine”, Harry Goldschmidt on the subject. Beethoven's treatment of it took heart and asked Beethoven if they unexpectedly available to revive Fidelio as stated in his essay “The Ur-Leonore” (in: was deep and fundamental, lasting almost could perform his opera again. Beethoven a classical studio production in the concert Beethoven. Werkeinführungen. Leipzig 1975), a year and a half. The “Ur-Leonore” had surprisingly agreed — under one essential hall of the Kulturpalast, under special which is quoted several times in this text. its unsuccessful premiere as Fidelio oder condition: that he could carry out a conditions: observing distance rules, with an The names Josephine and Leonore have the Die eheliche Liebe at the Theater an der renewed, thorough revision himself. enlarged stage and with the choral passages same syllabic structure and an identical Wien on 20 November 1805. Despite that, Once again, the composer spent weeks to be added later. word stress, which was highly significant Beethoven was still concerned with altering curing his problem child, this time with for the musician Beethoven. Josephine can the work’s fate. Already in December 1805 an experienced theatre man at his side to To hope therefore always be on our minds when he began making large-scale changes with rework the text and dramaturgy: Georg An die Hoffnung, a poem by Christoph listening to Fidelio alias Leonore. the critical assistance of his friend Stephan Friedrich Treitschke (1776-1842). The August Tiedge (1752-1841), incited the von Breuning (1774-1827). Whole passages result was the most coherent version of composer Ludwig van Beethoven to set it to Difficult birth were completely dropped, and the original the opera, even though many a musical music twice. The first song of hope, written Beethoven had already written nearly three acts were condensed into two. This gem from earlier versions was lost in the in 1805, i.e. while he was working on the twenty weighty piano sonatas and six string version, now called Leonore oder Der process. Finally the master agreed to 8 9 rename Leonore back to Fidelio, so that of an oratorio transcending time and then the grand opera with the principal instrumental movements that were on 23 May 1814, the definitive Fidelio came space and therefore valid in the literal understanding of love and freedom as everything — for example, precursors of the onto the stage. And it has not disappeared sense of the word: a heartfelt prayer, an moral categories that do not simply exist new genre of the symphonic poem — since then, even if discussions about the ethereal vision of happiness and hope. but must be conquered, and finally the except one thing: opera overtures. Today work’s quality and character have not The observations are all correct, it’s just oratorio, the statuary scene as the 'ideal the three extensive Leonore overtures opp. stopped until today. that the accusations and disdainfulness of the fulfilled moment', the utopian 138, 72a and 72b lead a life of their own in regularly derived from them are false. They interweaving of love through freedom and the concert hall. For the opera, on the other Idle discussions about form turn the thing upside down. The problem freedom through love.” (Dietmar Holland, hand, Beethoven composed an effective YES, it is the breath-taking, unheard-of is not Beethoven's conception, which in: Ludwig van Beethoven. Fidelio — Texte, overture in E Major lasting about eight design of humanity, the saving anchor in takes the formal disparity into account Materialien, Kommentare. Edited by Attila minutes shortly before the premiere of the the midst of the gruelling vice that also and plays with it in a fascinating way, but Csampai and Dietmar Holland, Reinbek bei third version in May 1814, which, in keeping appears in our world, which the philosopher the regularly underestimated, often nasty Hamburg 1981). The plot has also excellently with the spirit of a true opera overture, Ernst Bloch recognized in Beethoven's and sometimes outrageous evaluations been summed up by none other than dispenses with the need to narrate the opera.