What is the setting for Beethoven's opera 'Fidelio'?
"Fidelio discography This is a partial discography of ""Fidelio"", a Singspiel in two acts by Ludwig van Beethoven. Beethoven had originally written a three-act version of the opera called ""Leonore"", first performed in 1805 and then re-staged with revisions in 1806. Despite the name change, the heroine is the title character in both cases. Leonore disguises herself as a boy, Fidelio, in order to find out what has happened to her husband, Florestan, who is being illegally held by Pizarro, a prison governor. The other major characters are the gaoler Rocco and his daughter Marzelline. This is a partial discography"
"the scene in which the rescue finally takes place. The finale celebrates Leonore's bravery with alternating contributions of soloists and chorus. The work has a long and complicated history of composition: it went through three versions during Beethoven's career, and some of the music was first written as part of an earlier, never-completed opera. The distant origin of ""Fidelio"" dates from 1803, when the librettist and impresario Emanuel Schikaneder worked out a contract with Beethoven to write an opera. The contract included free housing for Beethoven in the apartment complex that was part of Schikaneder's large suburban theater, the Theater"
"Fidelio Fidelio (originally titled ; English: ""Leonore, or The Triumph of Marital Love""), Op. 72, is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. The following year, helped shorten the work from three acts to two. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as ""Leonore"". The libretto, with"
"of ""Leonore"", the 1805 original three-act version of the two-act opera ""Fidelio"". This is a discography of ""Leonore"", the 1806 version of the two-act opera ""Fidelio"". Fidelio discography This is a partial discography of ""Fidelio"", a Singspiel in two acts by Ludwig van Beethoven. Beethoven had originally written a three-act version of the opera called ""Leonore"", first performed in 1805 and then re-staged with revisions in 1806. Despite the name change, the heroine is the title character in both cases. Leonore disguises herself as a boy, Fidelio, in order to find out what has happened to her husband, Florestan, who"
"The opera is set in 15th-century Venice, at the house of Simone Trovai, military commander of the Venetian republic. On the night of the great Carnival, Simone in vain searches his house for his wife Violanta. Ever since her sister Nerina committed suicide (after having been seduced by Alfonso, the Prince of Naples), she has been bent on vengeance. Simone is about to leave for the Carnival with the painter Giovanni Bracca, when Violanta appears. After dismissing Bracca, she reveals to Simone that she has (anonymously) arranged a meeting with Alfonso in their house, where she wants her husband to"
"performances of the opera in 2004 and 2005, in English. In 2014, it was performed by New Chamber Opera at New College, Oxford. The opera is set in the Tuscan countryside. Act 1 Filippo, brother and sister Nanni and Vespina, and rich farmer Nencio admire the beauty of the summer evening. Filippo is concluding a deal with Nencio. Sandrina, Filippo's daughter enters, the others leave her alone with her father, who tells here that he has found her a husband. She protests that she loves only Nanni but Filippo dismisses the thought of her marrying a poor man. When Nanni"
"a worsening of his hearing abilities. As Beethoven despairs of a reason why God would want to deprive him off his hearing, Beethoven's friend Amenda replies that Beethoven's destiny is to compose a type of music never heard before. It is saddening for Beethoven to learn during rehearsals for his opera ""Fidelio"" that the musicians cannot follow his ""conducting"", and in fact are actually following their music director instead. In a depressed mood, Beethoven goes home and once more speaks with God, as Amenda's words come to his mind. When Therese comes to look after him, he comes to terms"
"The years following the French Revolution of 1789 had been some of the most turbulent in European history. In ""Fidelio"", Beethoven wanted to express the ideals of that Revolution: liberty, equality and fraternity. He was also inspired by contemporary French works, particularly the ""rescue operas"" of Luigi Cherubini. Beethoven was arguably not a natural composer of opera and, although ""Fidelio"" was premiered in 1805, it was not until 1814 that he produced its final version. Nevertheless, Fidelio is widely regarded as a masterpiece and is one of the key works in the German repertoire. In the early years of the"
"to be Giordano's most enduring success and secured his future as an opera composer. Setting: Naples c. 1700 Act 1 Mario Sanseverino, a Neapolitan nobleman and leader of a rebellion against Spanish rule, approaches the friar Benedetto in the courtyard of a monastery. He tells Benedetto of the impending rebellion and hands him a sheaf of papers for safekeeping, asking him to destroy them if he is killed. The papers are letters from Sanseverino's lover, Regina, the wife of the Spanish governor Ferrante Diaz. Sanseverino and Regina meet in a church where she has gone to pray. They once again"
"London had an orchestra in the pit. In 1826, Felix Mendelssohn wrote his well-known overture to Shakespeare's ""A Midsummer Night's Dream"", and later supplied the play with incidental music. In Verdi's ""La Traviata"", Violetta receives a letter from Alfredo's father where he writes that Alfredo now knows why she parted from him and that he forgives her (""Teneste la promessa...""). In her speaking voice, she intones the words of what is written, while the orchestra recapitulates the music of their first love from Act I: this is technically melodrama. In a few moments Violetta bursts into a passionate despairing aria"
"abandoned ""Vestas Feuer"" for ""Fidelio"", and was eventually freed from his obligations to Schikaneder when the latter was fired from his post as theater director in 1804. ""Fidelio"" itself, which Beethoven began in 1804 immediately after giving up on ""Vestas Feuer"", was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. Although Beethoven used the title ' (""Leonore, or The Triumph of Married Love""), the 1805 performances were billed as ""Fidelio"" at the theatre's insistence, to avoid confusion with the 1798 opera ' by Pierre Gaveaux, and the 1804 opera ""Leonora"""
"is what moves us to tears. His ""Fidelio"" has more of the Mass than of the Opera to it; the sentiments it expresses come from the sphere of the sacred, and preach a 'religion of humanity' which we never found so beautiful or necessary as we do today, after all we have lived through. Herein lies the singular power of this unique opera... Independent of any historical consideration ... the flaming message of ""Fidelio"" touches deeply. We realize that for us Europeans, as for all men, this music will always represent an appeal to our conscience. On 5 November 1955,"
"the 1950s. Francesco Lanzillotta conducted the Teatro San Carlo orchestra and chorus. The opera was performed again in July 2015 at the Festival della Valle d'Itria. The performance there (with a new cast) was recorded live and released in 2016 on the Dynamic label. Setting: A village near Naples in the early 19th century Act 1 The opera opens inside Bartolaccio's inn. The road to Naples with hills in the distance can be seen through the inn's entrance. Bartolaccio's daughter Fiorina is at her spinning wheel in the dining room, while Bartolaccio and his head waiter Carletto scurry about serving"
"decent, in my position, to slate a young composer [Niedermeyer] who has for a long time been in the same situation vis-à-vis the theatre as I am. But I must warn you not to believe a word I say."" The opera was revised to suit Gilbert Duprez when he took over the title role from Nourrit in 1837, and successfully revived in a three-act form in 1840. It is now almost totally forgotten. The opera takes place in Venice and Rome, about 1660. In Act I, in Venice, Stradella shields Léonor who is pursued by the Duke of Pesaro. They"
"outskirts of the city. In 1791, he persuaded Mozart to set one of his libretti, ""The Magic Flute"". This proved to be no ordinary ""Singspiel"". Though the traditional farcical elements remained, Mozart added a new seriousness, particularly in the music for Sarastro and his priests. Even more than ""Die Entführung"", the ""Magic Flute"" pointed the way forward for future German opera. The greatest German composer of the next generation, Beethoven, seized on ""The Magic Flute""'s blend of domestic comedy and high seriousness for his only opera, ""Fidelio"", the story of a devoted wife who saves her husband from political imprisonment."
"the opera which, thanks to the music of Beethoven, gives us comfort and courage... Certainly, ""Fidelio"" is not an opera in the sense we are used to, nor is Beethoven a musician for the theater, or a dramaturgist. He is quite a bit more, a whole musician, and beyond that, a saint and a visionary. That which disturbs us is not a material effect, nor the fact of the 'imprisonment'; any film could create the same effect. No, it is the music, it is Beethoven himself. It is this 'nostalgia of liberty' he feels, or better, makes us feel; this"
"voluminous dresses onstage. Some male operatic roles originally written to be sung in the voice range of castrati (men castrated in boyhood, whose voices never descended into the normal male register) are now usually cast with female singers in male costume. Beethovens' only opera, ""Fidelio"", is unusual in that it features a female character who cross-dresses as part of the plot. ""Fidelio"" involves a woman who disguises herself as a young man as part of a plan to rescue her husband from prison. In ""The Marriage of Figaro"" Cherubino dresses as a girl to avoid army duty. The part of"
"disappeared from the repertory. The opera was revived in Metz in 2011 at the Opéra-Théâtre de Metz Métropole to mark the bicentenary of the composer's birth. Catherine Hunold sang the title role and the was conducted by Jacques Mercier. The action takes place in Hell (prologue and epilogue) and in Rimini at the end of the 13th century. In the prologue, Dante and Virgil meet the lovers Paolo and Françoise in Hell, and Virgil suggest that Dante tell their story. During the four acts, their passionate love unfolds against the background of the battles between the Guelphs and Ghibellines. In"
"You have by your co-operation saved what is best from the shipwreck. For all this I shall be eternally grateful to you."" The full score was not published until 1826, and all three versions are known as Beethoven's Opus 72. The first performance outside Vienna took place in Prague on 21 November 1814, with a revival in Vienna on 3 November 1822. In its two-act version, the opera was staged in London on 18 May 1832 at the King's Theatre, and in New York on 9 September 1839 at the Park Theatre. ""Fidelio"" was Arturo Toscanini's first complete opera performance"
"in the Beethoven Center of the San Jose State University. Sources Notes Elisabeth Röckel Elisabeth Röckel (15 March 1793, baptised ""Maria Eva"", Neunburg vorm Wald – 3 March 1883 in Weimar) was a German soprano opera singer and the wife of the composer Johann Nepomuk Hummel. She was a sister of the opera singer Joseph August Röckel (1783-1870) who played Florestan in the second version of Beethoven’s opera ""Fidelio"", which premiered in the Theater an der Wien in 1806. In the same year she came to Vienna, too, where she lived in a flat in the theater, together with her"
"work on the libretto by Georg Friedrich Treitschke. This version was first performed at the Kärntnertortheater on 23 May 1814, again under the title ""Fidelio"". The 17-year-old Franz Schubert was in the audience, having sold his school books to obtain a ticket. The increasingly deaf Beethoven led the performance, ""assisted"" by Michael Umlauf, who later performed the same task for Beethoven at the premiere of the Ninth Symphony. The role of Pizarro was taken by Johann Michael Vogl, who later became known for his collaborations with Schubert. This version of the opera was a great success, and ""Fidelio"" has been"
"16 January 1800 at the Théâtre Feydeau in Paris. ""Les deux journées"" is sometimes considered Cherubini's most successful opera, though revivals have been rare in the past hundred years. Johann Wolfgang von Goethe and Ludwig van Beethoven both felt that Bouilly's libretto was one of the best of its day; Beethoven kept Cherubini's score on his desk and copied out passages from it while composing ""Fidelio"". ""Mikeli's home"" Mikeli is a Savoyard water carrier living in Paris. Mikeli's son, Antonio, tells how as a child his life was saved by an unknown Frenchman. He is interrupted when Count Armand, a"
"also more overwhelmed by the orgy in the film than in the novella. Fridolin is socially bolder but less sexual with the prostitute (Mizzi in the novella, Domino in the film). Fridolin is also conscious of looking old in the novella, though he hardly does in the film. In the novella, the party (which is sparsely attended) uses ""Denmark"" as the password for entrance; that is significant in that Albertina had her infatuation with her soldier in Denmark. The film's password is ""Fidelio"", from the Latin word for ""faithful"", and which is the title of Beethoven's only opera (""Fidelio, or"
"the standard repertoire: The has seen the premieres of many works by celebrated composers and playwrights. It was a particularly favorite venue for Ludwig van Beethoven, who actually lived in rooms inside the theatre, at Schikaneder's invitation, during part of the period he was composing his opera ""Fidelio"". Notes Sources Theater an der Wien The is an historic theatre in Vienna located on the Left Wienzeile in the Mariahilf district. Completed in 1801, the theatre has hosted the premieres of many celebrated works of theatre, opera, and symphonic music. Since 2006, it has served primarily as an opera house, hosting"
"an der Wien. Beethoven was to set a new libretto by Schikaneder, entitled ""Vestas Feuer""; however, this libretto was not to Beethoven's liking. He spent about a month composing music for it, then abandoned it when the libretto for ""Fidelio"" came to his attention. The time Beethoven spent on ""Vestas Feuer"" was not entirely wasted, as two important numbers from ""Fidelio"", Pizarro's ""'Ha! Welch’ ein Augenblick!"" and the duet ""O namenlose Freude"" for Leonora and Florestan, both originated as music for ""Vestas Feuer"". Beethoven remained as a resident of the Theater an der Wien for some time after he had"
"as director of the company on 1 April. Charles Réty, who had joined the company in March 1856 as secretary-general, took his place, and the quality of performances at the theatre began to decline. When Charles Réty (1826–1895) took over from Léon Carvalho in April 1860, a new revival was already in rehearsal. This was Beethoven's ""Fidelio"" in a French translation by Jules Barbier and Michel Carré with the location of the story changed to Milan in the 15th century. Pauline Viardot was Isabelle, Duchesse d'Aragon (Leonore in the original version), Guardi (""né"" Hector Gruyer) sang the role of Jean"
"of money for Beethoven to compose a new symphony for him. Beethoven undertook the new work during the summer of 1806 and completed it in roughly a month, while also working on the Fourth Piano Concerto and revising his opera ""Fidelio"", then still known as ""Leonore"". The dedication was made to ""the Silesian nobleman Count Franz von Oppersdorff"". The symphony is scored for flute, 2 oboes, 2 clarinets in B, 2 bassoons, 2 horns in B and E, 2 trumpets in B and E, timpani and strings. The work is in four movements: The work takes about 33 minutes to"
"""Vestas Feuer"" unsuited to his needs. He did, however, set the opening scene, part of which ultimately became the duet ""O namenlose Freude"" from his 1804 opera ""Fidelio"". Beethoven continued to live in the Theater an der Wien for a while as he switched his efforts to ""Fidelio"". ""Fidelio"" premiered in the Theater an der Wien, but not under Schikaneder's direction. By 1804, Schikaneder's career had taken a downward turn; his productions could not bring in enough customers to cover their cost. He sold the Theater an der Wien to a consortium of nobles and left Vienna for the provinces,"
"Fedora (opera) Fedora is an opera in three acts by Umberto Giordano to an Italian libretto by Arturo Colautti, based on the play ""Fédora"" by Victorien Sardou. Along with ""Andrea Chénier"" and ""Siberia"", it is one of the most notable works of Giordano. It was first performed at the Teatro Lirico in Milan on 17 November 1898 conducted by the composer with Gemma Bellincioni creating the role of Fedora, and Enrico Caruso as her lover, Loris Ipanov. In 1889, Umberto Giordano saw Sardou's play ""Fédora"" at the Teatro Bellini di Napoli, with Sarah Bernhardt (for whom the play was written)"
"among other works, the Fifth and Sixth Symphonies, ""Für Elise"", the ""Archduke Trio"" and his only opera, ""Fidelio"". Since Beethoven's actual flat in the north section of the fourth floor has a tenant, the next-door flat is on show as the Beethoven exhibit. In 1793, Joseph Haydn acquired the house which is now Haydngasse 19 in Mariahilf, and lived there until his death in 1809. The original address was Kleine Steingasse 71 (changed in 1795 to 73), and it was located in the hamlet of Obere Windmühle, which was part of the outlying town of Windmühle but was almost entirely"
"Italian tenor Mario Bordogni. The opera was left as a vocal score, preserved in a manuscript at the ""Bibliothèque nationale de France"". It was orchestrated by Luc van Hove and staged for the first time at the ""Opéra Royal de Wallonie"" on 19th September 2012. This production was recorded by ""Dynamic"" label and issued either on CDs (audio) or on a DVD (video). Act I. The opera takes place in Venice at the age of Alessandro Stradella. The Duke of Pesaro enters with Spadoni and his men to abduct the beautiful Léonor (scene I). However they are disturbed by the"
"so am I"". By the time of the premiere, considerable changes had been made to the three-act ""Stiffelio"", the prime one being an added fourth act with new material, described by conductor Mariani to Ricordi as ""a stupendous affair; you'll find in it a storm, a pastoral chorus, and an Angelus Dei treated in canon and beautifully wrought"". Lina became Mina; Stiffelio, as discussed, was now Aroldo; Stankar morphed into Egberto; Jorg, the bass role, emerged as Briano. 19th century Rimini became the location of the premiere, although when ""Aroldo"" was ready to be staged, Verdi had chosen Bologna for"
"Schikaneder collaboration to a successful conclusion. Early in 1804, after dropping ""Vestas Feuer"", Beethoven began work on a different opera, then entitled ""Leonora""; which ultimately became ""Fidelio"", now a cornerstone of the repertory. Lockwood explains why the ""Leonora"" libretto was everything to Beethoven that the ""Vestas Feuer"" libretto was not: Giving up on Schikaneder's feeble libretto after two months, Beethoven turned gratefully to a drama that offered characters and actions he could take seriously: Leonore, Florestan, Pizarro, and his underling Rocco, along with the profoundly moving chorus of suffering political prisoners, confined in Pizarro's dungeons, who yearn for the light"