CHICAGO—Arguably the greatest classical music composer of all time, Beethoven (1770–1827) wrote glorious symphonies, which include his Symphony No. 5 and Symphony No. 9. Despite his many other works, he wrote just one opera, “Fidelio,” which premiered in 1814 in Vienna.
Writing the opera was a real struggle for Beethoven. More familiar with expressing emotion through music than drama, he took almost 10 years to complete the final version. A decade is a long time to birth an opera, but it was worth the wait for Beethoven’s glorious music. Now, opera lovers and Beethoven fans can experience the glory of “Fidelio” in its triumphant best at the Lyric Opera of Chicago.
For Truth and Liberty
The plot of “Fidelio” revolves around Leonore, who disguises herself as a prison guard to rescue her husband, Florestan, from imprisonment. He was sent to jail for exposing the corruption of a tyrannical government. He’s being held captive by the evil governor of the prison, Pizarro, who plots his assassination.A Powerful Production
Under the direction of Matthew Ozawa, Beethoven’s political story is also one of personal sacrifice and heroism that moves with the speed, tension, and suspense of a political thriller.While the original was set in 18th-century Spain, the Lyric presents the opera in a modern environment with set designer Alexander V. Nichols’s two-story rotating framework. It keeps the action moving. The stark fluorescent lighting and gleaming metallic jail-cell bars convey a depressing prisonlike ambiance.
The atmosphere of repression is further enhanced by costume designer Jessica Jahn’s drab modern clothing and Yuki Nakase Link’s atmospheric lighting effects.
The roles of Leonore and Florestan are some of the most difficult in all of opera, demanding powerful voices that can keep pace with Beethoven’s soaring score. That great voices perform those two roles has much to do with the stunning triumph of this “Fidelio.”
Soprano Elza Van Den Heever comes through with strong emotional depth and wonderful acting skills in a passionate vocalization throughout. This is especially evident in her exciting aria “Komm, Hoffnung” and “Abscheulicher.”
Tenor Russell Thomas provides poignant desperation as the imprisoned Florestan and stands out with his aria of “Gott! Welch’ Dunkel hier.” Van Den Heever and Thomas together are especially emotional and dramatic in their duet of “O namenlose Freude,” a highlight of the production.
Bass Dimitry Ivashchenko is convincing as Rocco, the jailer, who must follow his boss’s evil orders. Baritone Brian Mulligan plays the sinister villain Pizzarro.
Others who contribute to the dramatic emotion include soprano Sydney Mancasola as Marzelline, a worker in her father’s jail; tenor Daniel Espinal as Jaquino, Marzelline’s tenacious and comedic suitor; bass-baritone Alfred Walker as Don Fernando; and tenor Travon D. Walker as one of the prisoners.
Of course, Beethoven’s spine-tingling music soars and conductor Enrique Mazzola brings out the best in the Lyric Opera Orchestra. The Lyric Opera Chorus under director Michael Black is exceptional, as always.
Beethoven aficionados will be entranced by this opera, but this breathtaking work will mesmerize anyone who appreciates great music, believes in individual freedom, stands against tyranny, and is inspired by true, passionate love. It’s such an enthralling musical feast. Your only regret will be that it’s Beethoven’s only opera.
