The first performance of Fidelio, Beethoven’s only opera, took place in the Theatre Royal in December 1838. It also marks the first live production by Irish National Opera since May 2019. The giddy thrill of being in public, having an occasion to go to and witnessing the the edge and energy of performers, set changes and orchestras being conducted in the pit is a welcome sight. Written in the first decade of the 19th century, Beethoven was influenced by a story from the French Revolution concerning a woman who dressed as a man to rescue her husband from imprisonment. “Today freedom is as important and relevant a concept as it was then,” writes director Annabelle Comyn. “In recent years with the rise of the right, populism, and authoritarianism, Beethoven’s opera has never felt so urgent.”
Set in a state prison, the opening scene sees Rocco (Daniel Sumegi, bass-baritone), the prison warden, preparing for his day in a Francis O’Connor’s set which evokes communist Germany in its spartan, minimalism – a look which has found favour in chic design aesthetics these days, also. He has a daughter, Marzelline (Kelli Ann-Masterson, soprano), and an assistant, Jaquino (Dean Power, tenor), who is in love with Marzelline. “He acts from a state of fear: at times with compassion, at times lured by promises of personal gain,” says Comyn. Leonore (Sinéad Campbell Wallace, soprano), our heroine, is the wife of the imprisoned Florestan (Robert Murray, tenor) but disguised as Fidelio in order to breach the system and be with her love. Yet, they have to overcome the baddie Don Pizarro (Brian Mulligan, baritone), who is chief governor of the joint. If that sounds in any way confusing, trust us it’s not and with the aid of surtitles you will slip into the action and emotion with ease.
There’s unrequited love, marriage proposals, prisoners seeing tantalising daylight and murderous intentions – it’s opera baby! And it’s fun even when we get to see opera singers wobbling on the acting tightrope, on occasion. There’s strong central performances with Florestan, in particular, delivering a powerfully convincing performance of the doomed inmate. Fergus Shiel waves the wand and notes that, “for Beethoven a lot of it (the music) is about rhythms and motifs and small snatches of things that are repeated and repeated and it’s like architecture, the way he uses these blocks of music.”
Get back in the room, it’s been too long, and enjoy a night at the opera.
Performances Wednesday, Friday and Saturday November 10,12 and 13 at 7.30pm.
