{"id":2602,"date":"2020-05-02T00:54:07","date_gmt":"2020-05-01T21:54:07","guid":{"rendered":"https:\/\/www.criticscorner.gr\/?p=2602"},"modified":"2020-05-02T00:54:10","modified_gmt":"2020-05-01T21:54:10","slug":"fidelio-at-the-royal-opera-house-in-corona-virus-times","status":"publish","type":"post","link":"https:\/\/www.criticscorner.gr\/en\/fidelio-at-the-royal-opera-house-in-corona-virus-times\/","title":{"rendered":"Fidelio at the Royal Opera House in corona virus times"},"content":{"rendered":"\n

by Dr. Kyriakos Loukakos, Hon. President of the Greek Drama and music Critics Union (est. 1928)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0 We had planned our journey to London much time in advance. And it promised to be exciting, since the March 2020 performances of Ludwig van Beethoven<\/strong>\u2019s final thoughts on \u00abFidelio<\/strong>\u00bb (1814), to mark the 250th<\/sup> anniversary of the composer (1770-1827), lured audiences from all over the world thanks to an exceptional pair of protagonists conducted by the experienced Sir Antonio Pappano<\/strong>. As time went by and the sad global events regarding the new so called \u00abcorona virus\u00bb expanded, the anticipation became nervousness, reflected in publications and nurtured by Jonas Kaufmann<\/strong>\u2019s failure to participate to a dress rehearsal. His Florestan, second to none nowadays and globally known thanks to the commercial release of a rather debatable Salzburg Festival 2015 production by Claus Guth, would be the main attraction, were it not for the comparably hot news of Lise Davidsen<\/strong>\u2019s holding the part of the work\u2019s heroine Leonore. To all of us who had the privilege of attending her 2019 Bayreuth Festival debut, as Elisabeth in Richard Wagner\u2019s \u00abTannh\u00e4user<\/em>\u00bb, it was obvious that the young soprano from Norway brought back fond memories of such an exceptional artist as Birgit Nilsson indisputably had been to this and other repertoire.<\/p>\n

\u00a0\u00a0<\/p>\n

\"\"<\/a>
Fidelio at-covent-garden 9.03.2020-Jonas Kaufmann-photo source France Musique<\/figcaption><\/figure>\n

\u00a0 Kaufmann managed to get over a bad cold in time for the performances, so widespread fears of a cancellation thankfully did not materialize. Neither on the evening of the March 6 performance we attended,\u00a0 in an overcrowded Royal Opera House, with no safety distancing at all among the public, nor on March 17, when the performance was recorded by the BBC for a local as well as EBU transmission by several European radio stations. It was unfortunate though that the Bayreuth inheritance to London brought to this important opera house not only the benefit of Davidsen but also the drawback of its \u00abTannh\u00e4user<\/em>\u00bb\u2019s director Tobias Kratzer<\/strong>.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Following an overused pattern of interventionism, Kratzer felt free to retouch even the text of the libretto, taking for granted that \u00ablike no other opera, Beethoven\u2019s Fidelio falls into two unequal parts<\/em>\u00bb with \u00abact I \u2026 a historical melodrama on freedom and love in the post-Revolutionary era<\/em>\u00bb and \u00abact II \u2026 a political essay on the responsibility of the individual in the face of a silent majority, a musical plea for active empathy<\/em>\u00bb. But even in this twisted notion of his, the director who forewent the fact that Leonore defends freedom for the purpose of marital love in order to promote his act 2 vision, did not hesitate to transform her unequivocally visionary cabaletta of her big act 1 aria as a mere confrontation of the noblewoman with the jailor\u2019s daughter Marzelline, in love with her in her disguise as a young man under the name of Fidelio. This and other equally unsupported presuppositions dictated the crash difference of the scenography between the acts, as well as a totally \u00abverfrememdetes<\/em>\u00bb scenical ambience for act 2, which found Florestan on an Ariadne-like desert island, far from the oppressing, humid darkness of his prison, surrounded with 3 rows of seated overviewers.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In this alienation from the clear lines, \u00absturdy symmetry<\/em>\u00bb of the original play and \u00absymmetrical disposition of the seven main characters \u2026 preserved in Beethoven\u2019s opera while the architectural framework of Bouilly\u2019s libretto was considerably expanded<\/em>\u00bb (so in William Kindermann, The French Revolution and Beyond, Royal Opera House program, page 25) Kratzer disregarded much more obvious and contemporary options to safeguard the work\u2019s structure and internal balances, indeed its perhaps involuntary but definitely post modern qualities. Then, what begins as a nearly entertaining and even na\u00efve amorous situation in the ominous Seville prison extends gradually to a rescue thriller with powerful, shocking musical and dramatic elements and effects, as well as with a liberating communal message to the world. In this respect all above discrepancies and additions, including Marzelline\u2019s supposedly acquired awareness and her subsequent transformation to the tyrant\u2019s assassin, as well as poor Jacquino being left alone on stage as the curtain falls, as one of \u00abthose who are left behind and whose wounds nurture the destructive potential to become tomorrow\u2019s Pizarro<\/em>\u00bb (so Bettina Bartz<\/strong> \u2018s, the performance\u2019s dramaturg, Beethoven\u2019s Call for Empathy<\/em>, article based on an interview with a.o. Tobias Kratzer, as above, p. 19),\u00a0 syrely diminished the work\u2019s direct message, as also did the uncertain effort to historically confine the action to the Terreur \u00a0<\/em>period of Bouilly\u2019s original play.<\/p>\n

\u00a0\u00a0\u00a0<\/p>\n

\"\"<\/a>
Fidelio ROH March 2020 – Egils Silins-Lise Davidsen-Jonas Kaufmann -photo Bill Cooper<\/figcaption><\/figure>\n

In this alienating context, largely detracting from the direct dramatic appeal of the opera, the musical performance also did not avoid detriment, first and foremost regarding Pappano\u2019 s lacklustre, indeed underpowered conducting of the otherwise sound Royal Opera House Orchestra and Chorus. Even the building of a suitably ominous atmosphere for the prisoners chorus eluded him. Regarding the cast, Marzelline and Jacquino were ably and soundly defended by American soprano Amanda Forsythe<\/strong> and Irish tenor Robin Tritschler<\/strong> respectively. British baritone Simon Neal<\/strong>, presented Pizarro as a rather weak and not particularly authoritative character (his on stage horse riding intensifying his stage uncertainty). There was an alarming timbral resemblance among him and the ever musical but thin bass of Georg Zeppenfeld<\/strong>\u2019s Rocco as well as Lithuanian bass-baritone Egils Silins<\/strong>\u2019s Don Fernando, decisively deprived of his ministerial authority by the Regie<\/em>. \u00a0\u00a0<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0 Besides remaining the unrivalled stars of an otherwise annoying and dull evening, even the protagonists suffered particularly in regard with empathy, so much invoked and supposedly seeked by Kratzer. Of course Jonas Kaufmann<\/strong> excelled as Florestan, with exquisitely fine singing line throughout the 2nd<\/sup> act. His\u00a0 one breath extended declamation, rising superbly from pianissimo to fortissimo for the initial \u00abGott!\u00bb, was indeed of Golden Age standards, while the creamy, caressing warmth of his baritonal tenor was expressively employed up to the service of the noblest artistic aspirations imaginable. Nevertheless we firmly believe that his impersonation would have been even more moving had he been left alone to handle the human drama of his character with his own theatrical instinct and stahe charisma. As for Lise Davidsen<\/strong>, she presented an imposing, youthful and impetuous Leonore, her ideally burnished tone fearlessly rising to the challenge of even her most exposed passages, without even minimal loss of tonal fullness or clarity of diction. And yes, she yearningly reminded us of the late and unforgettable Birgit Nilsson. Such a pity one has to retain the indelible memories of her and Kaufmann as mere redeeming factors for an otherwise forgettable operatic experience! \u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

by Dr. Kyriakos Loukakos, Hon. President of the Greek Drama and music Critics Union (est. 1928) \u00a0\u00a0\u00a0\u00a0\u00a0 We had planned our journey to London much time in advance. And it promised to be exciting, since the March 2020 performances of Ludwig van Beethoven\u2019s final thoughts on \u00abFidelio\u00bb (1814), to mark the 250th anniversary of the […]<\/p>\n","protected":false},"author":2,"featured_media":2603,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":{"0":"post-2602","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-opera"},"yoast_head":"\nFidelio at the Royal Opera House in corona virus times<\/title>\n<meta name=\"description\" content=\"Fidelio at the Royal Opera House in corona virus times\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.criticscorner.gr\/en\/fidelio-at-the-royal-opera-house-in-corona-virus-times\/\" \/>\n<meta property=\"og:locale\" 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