Fideliosity - The Chorus in Fidelio

This is the fourth post in a series which we hope will help you to get to know Beethoven’s rarely-performed Fidelio before you come to see it at HGO. Please let us know what you think by commenting on our Facebook page or leaving a comment this post.

Richard Bado, Chorus Master

The Fidelio chorus is on nearly every chorus master’s bucket list. Why?

There are, of course, endless operas with thrilling choral music, but as Beethoven’s only opera, Fidelio is a unique part of the operatic repertoire. Both of the major choral moments in this piece are incredibly moving, but are so different in scope, they could easily be from two different works.

The chorus appears in the finales of each act of the opera (in addition to a brief appearance of 20 men as soldiers in Pizarro’s aria earlier in Act I). The choral writing for each act is hugely different, but extremely effective. The Act I finale begins with the famous prisoner’s chorus – this men-only ensemble in four-part harmony is a beautiful, expansive, and wistful musical exclamation of the prisoners’ first glimpse of the sun after years of being held captive within the dark prison. The awe and wonder they express, along with the hesitation to embrace any sense of hope, is ever present in their singing. The act ends with the prisoners being led back into their cells singing “Leb’ wohl, du warmes Sonnenlicht” (“Farewell, warm sunlight”).

The Act II finale is the only time we will see and hear the entire 82-member HGO Chorus. This writing, much like the last movement of Beethoven’s 9th Symphony, praises this very day and moment of the release of the prisoners and their reuniting with loved ones. We hear loud, celebratory, and exuberant singing that is unlike anything else heard in the opera. There is little subtlety in this writing, but rather unbridled joy as the opera draws to a close.

We embrace the timelessness and universal quality of Fidelio. It is a story of our living, changing world that never loses its ability to unite and work together with a sense of community – much like the members of the HGO Chorus.

See you at the opera!

Richard Bado, Chorus Master
Craig Kier, Assistant Chorus Master

Fideliosity - Week 3

This is the third post in a series which we hope will help you to get to know Beethoven’s rarely-performed Fidelio before you come to see it at HGO. Please let us know what you think by commenting on our Facebook page or leaving a comment on this post.

Fidelio – Synopsis, Act II
 
Alone in his cell, Florestan sings of his trust in God; he has a vision of Leonore (Gott! Welch Dunkel hier! …In des Lebens Frühlingstagen"- "God! What darkness here...In the spring of life"). He collapses and falls asleep.
Listen to Jonas Kaufmann – or to a great Florestan of the past, Jon Vickers.

Rocco and Leonore come to dig his grave. Florestan awakens and learns at last that he is in Pizarro's prison, he asks that a message be sent to his wife, Leonore, but Rocco says it's impossible. Florestan begs for water to drink, and Rocco tells Fidelio to give him some. Florestan does not recognize the disguised Leonore but tells her she will be rewarded in Heaven ("Euch werde Lohn in bessern Welten" - "You shall be rewarded in better worlds"). Under Rocco's watchful eye, Leonore gives Florestan a crust of bread.

Rocco sounds the alarm for Pizarro, and tells Leonore to leave, but instead she hides. Pizarro reveals his identity to Florestan, who accuses him of murder ("Er sterbe! Doch er soll erst wissen" - "Let him die! But first he should know"). Pizarro brandishes a dagger, and Leonore, leaping between him and Florestan, threatens to shoot Pizarro. A trumpet heralds the arrival of the minister, and Jaquino enters to announce that the minister is waiting. Rocco tells the soldiers to escort Governor Pizarro upstairs. Pizarro declares he will have revenge, and Rocco expresses his fear of what is to come ("Es schlägt der Rache Stunde" - "Revenge's bell tolls"). Florestan and Leonore sing a love duet ("O namenlose Freude!" - "O unnamed joy!").
 
Out in the yard, the prisoners and townsfolk sing to the day and hour of justice ("Heil sei dem Tag!" - "Hail to the day!"). The minister, Don Fernando, announces that tyranny has ended. Rocco enters with Leonore and Florestan, and he asks Don Fernando to help them ("Wohlan, so helfet! Helft den Armen!" - "So help the poor ones!"). He explains how Leonore disguised herself as Fidelio to save her husband. Rocco describes Pizarro's murder plot, and Pizarro is led away to prison. Florestan is released from his chains by Leonore, and the crowd acclaims her ("Wer ein holdes Weib errungen'" - "Who has got a good wife").

Coming Next: Preparing the chorus, by Richard Bado and Craig Kier.

Fideliosity - Week 2

This is the second post in a series which we hope will help you to get to know Beethoven's rarely-performed Fidelio before you come to see it at HGO. Please let us know what you think by commenting on our Facebook page or leaving a comment on this post. Unless otherwise noted, links in the synopsis below lead to selections on YouTube that are taken from the Metropolitan Opera production by Jürgen Flimm, which opens at Houston Grand Opera on October 28, 2011.

Beethoven's Fidelio is in two acts, set in a prison, and in this production everything takes place in the 20th century. The prison is run by a warden named Rocco, whose daughter Marzelline lives with him.

As the opera commences, Jaquino and Marzelline are discussing marriage. Unbeknownst to Jaquino, Marzelline has fallen in love with Fidelio, who is Leonore - the wife of the prisoner Florestan - in disguise. Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife in her aria, "wär ich schon mit dir vereint" - "If only I were already united with thee" (here sung by Sena Jurinac). Rocco and Jaquino enter, looking for Fidelio, who comes in with a heavy load of newly repaired chains. Rocco compliments Fidelio, and misinterprets his modest reply as hidden attraction to his daughter. Marzelline, Leonore, Rocco, and Jaquino sing "Mir ist so wunderbar" - "A wondrous feeling fills me".

Rocco tells Fidelio that as soon as the governor has left for Seville, he and Marzelline can be married. He also tells them, "Hat man nicht auch Gold beineben" - "If you don't have money set aside, you will not be happy". Fidelio asks why Rocco will not permit him to help him in the dungeons when he always comes back out of breath. Rocco says that there is a prison where he can never take Fidelio, and Marzelline begs her father to keep him away from it - but Fidelio prevails, and Rocco gives in, saying "Gut, Söhnchen, gut" - "All right, son, all right".

Pizarro enters with guards. Rocco warns Pizarro that the minister plans a surprise visit the next day. Pizarro exclaims that he cannot let the minister discover the imprisoned Florestan, who has been thought dead. Pizarro decides that Florestan must die "Ha, welch ein Augenblick!" - "Hah! What a moment!". He offers Rocco money to kill Florestan, but Rocco refuses: "Jetzt, Alter, jetzt hat es Eile - "Now, old man, we must hurry!", so Pizarro orders him to dig a grave in the well in the dungeon, and to signal him when it is ready.

Fidelio has seen Pizarro plotting, but has not overheard what he said. She is agitated, but thoughts of Florestan calm and focus her attention: "Abscheulicher! Wo eilst du hin? ... Komm, Hoffnung, lass den letzten Stern" - "Scum! Where are you going? ... Come, hope, let the last star"). Hoping to find Florestan, Fidelio begs Rocco to give the prisoners a few moments, respite in the garden. Rocco agrees to distract Pizarro while the prisoners are allowed out. Overwhelmed at their freedom, the prisoners sing, "O welche Lust" - "O what a joy", but, remembering that they could be caught, are soon quiet.

Rocco reenters and tells Fidelio of his success with Pizarro: "Nun sprecht, wie ging's?" - "Speak, how did it go?". (Note: this link refers to a Glyndebourne Festival production by Peter Hall, starring Elisabeth Söderström as Fidelio and Curt Appelgren as Rocco.) They prepare to go to the cell of a prisoner who, according to Rocco, must be killed and buried within the hour. As they prepare to leave, Jaquino and Marzelline rush in and tell Rocco to run: Pizarro has learned that the prisoners are free, and he is furious "Ach, Vater, Vater, eilt!" - "O, father, father, hurry!" here sung by Christa Ludwig).

Pizarro enters and demands an explanation. Rocco pretends that they are celebrating the King's naming day, and suggests quietly that Pizarro save his anger for the prisoner in the dungeons below. Pizarro tells him to hurry and dig the grave, then announces that the prisoners will be shut in again. Rocco, Leonore, Jacquino, and Marzelline reluctantly usher the prisoners back to their cells as they sing "Leb wohl, du warmes Sonnenlicht" -  "Adieu, warm sunshine".

Later this week: Act II.  

Fideliosity

It's a rare moment in an opera company's life when the fates conspire to allow for performances of Beethoven's only opera, Fidelio. It doesn’t matter where you are: so many things are repeated before Fidelio comes up even once. Don’t get me wrong – I’m not against experiencing anything by Verdi or Puccini any time! But I am rather wildly excited to watch Fidelio take the stage here at HGO.

Fidelio opens here at HGO on October 28; we just started rehearsals today. For the next several weeks, we will use this space to take a closer look at the production, the music, and the cast of Fidelio, and you’ll meet some of the people involved in making it happen at HGO. Check back on Mondays throughout October for new postings.

In its 57 seasons, HGO has performed Fidelio only twice: in the 1970-71 season, in the teeth of the Vietnam conflict (and the American League Baseball strike), and in the 1983-84 season, a time of simmering unrest in Iran, Iraq, Cameroon and elsewhere, less than a decade before the fall the Berlin wall. We offer it now, as part of our 57th season, with five performances starting October 28, 2011. Who knows what resonances this 206-year-old opera might offer up in the wake of the Arab Spring?

Why such a rarity? HGO Artistic Director Patrick Summers shares some of his thoughts here.

Fidelio is famously difficult to sing, demanding a cast that is born, not made. In the 1970s, HGO's Leonore was the late, great Leonie Rysanek; in 1983 it was the extraordinary and powerful Hildegard Behrens. Our 21st-century Leonore is the great Finnish soprano, Karita Mattila, heard and seen here in a selection from acclaimed Metropolitan Opera performances in the same role. That clip, by the way, is the production we’re doing here at HGO, magnificently conceived by the great director Jürgen Flimm. Our Florestan – a whopping great role that requires a singer of substantial power and finesse as well as charisma – is the brilliant Simon O’Neill. Check out his recording of “Gott! Welch dunkel hier” from Act 2.

To get ready for Fidelio, subscribers are invited to join us for "From Mozart to Romanticism: Fidelio in Context" – a free event (reservations required - RSVP to subscriberevent@hgo.org) on October 10 at 6:00 p.m. Associate director Gina Lapinski and HGOco Director Sandra Bernhard will discuss the shift from Mozart and the Enlightenment to Beethoven and the Romantic Era, examining a society in transition from Revolution to freedom through the lens of its creative and artistic output.

Final Performances in Paris

Our final 3 performances were spectacular...every performance had a standing ovation. The cast rose to the enormous challenge of 6 shows in 5 days and are rightly proud of themselves, the piece and the overwhelming crowd reaction to their performances. The final performance in Paris was as electric as the first night and the rhythmic clapping was like another number added to the show. Jean Luc Choplin who is the General Director at the Châtelet was onstage at the end hugging and kissing everyone and saying how he had no idea that Parisians would or indeed could react in such a way.

I have had inquiries from quite literally all over the world and we are hopeful that some of these will lead to future opportunities to show that relevant new work is not only needed but can engage new audiences and broaden the appeal of what we all do

To everyone who helps make HGO the stellar company it is - supporters, subscribers, Guild, performers, technical staff and administrative staff: thanks from all of us for this very proud day.

Signing off from France with very best wishes,
Perryn

Managing Director
Houston Grand Opera 

Adieu a Paris

Adieu a Paris...we're all on our way home, after six successful evenings
at the Châtelet.

The dress rehearsal was as perfect as you could ask for - which set us up for an electric first night. The singers, cast and production staff worked so hard and the developing of relationships with the HGO crew and people at the Châtelet has been wonderful to watch. The crew of the Châtelet have been so supportive and they now have Mariachi music in their souls! I am very proud of how everyone here has represented HGO and the quality that they bring to their work.

From the very first night, the singers absolutely brought their A game and delivered a wonderfully strong and moving performance. They had the audience with them from start to finish and were absolute superstars on a stage full of stars.

What can you say about Vargas that hasn't already been said? Boy, are they showmen! - they feed off the passion and energy of a full house and seemed about a foot taller than the previous day. They were certainly louder! The curtain call each night was extraordinary ...if we had not brought the house lights up we might still be there now! Each performance was just as good, if not better, than the one before.

This is the next step in the evolution of the show - I think it will continue to grow and develop. Lenny Foglia is a master story teller and draws performances and paints pictures like few others. It is truly incredible how many sombreros he has worn on this show - he is its
heartbeat!

We send love and thanks from a little corner of Paris that has been the Hispanic Quarter for the past few days.

Mucho gusto

Perryn

Greetings from Paris

Greetings from Paris, where we are a little more than 24 hours away from opening night at the Châtelet. The cast and the team behind Cruzar la cara de la luna are excited and ready to bring down the house with our made-in-Texas Mariachi opera!

I’m pleased to share with you this editorial from this morning’s HOUSTON CHRONICLE, which talks about our activities here in Paris and in Houston that bring acclaim and vitality to the city we call home.

HGO is becoming more relevant and important to our growing metropolis. These programs are two examples of how we embrace and serve our community. This is only possible through your continued patronage and support. Many, many thanks!

Perryn Leech
Managing Director
Houston Grand Opera