We inform our audience that as part of the precautionary measures to protect health and in compliance with the provisions received, the performance of Fidelio on May, 28 and 31 are cancelled. We will provide, in updating, any other necessary information and news.
Unique among his works, Fidelio put Beethoven to the test. Eleven years of work and changes resulting in three versions of the opera. The story, adapted from the drama by Jean-Nicolas Bouilly, Leonora, o l’amor coniugale, was very well-known at the time, and belonged to the highly fashionable genre of the pièce de sauvetage, in which fictional and topical elements are blended together in an adventurous plot with a happy ending. The first version, from 1805, was considered long-winded, the second - a year later - was better, but still did not produce the desired results. Before returning to this untameable creature, Beethoven decided to wait, and a decade later, bolstered by his successes in instrumental music, attempted a third and final version. The libretto was revised by Georg Friedrich Treitschke, a number of pieces were eliminated, others re-written, and some passages of orchestration were touched up. On 23 May 1814, Fidelio was ready to take to the stage and finally receive the long-desired-for success. In his final version, Beethoven fully examined themes dear to him, such as the relationship between good and evil and between justice and tyranny, with the final triumph of Reason and Love, enhanced with music of epic content.