Beethoven: Opera Fidelio, Op. 72 (Herbert von Karajan)

Ludwig van Beethoven Opera Fidelio, Op. 72
Berliner Philharmoniker
Chor der Deutschen Oper Berlin
Herbert von Karajan (conductor)
Helen Donath (soprano)
Jose van Dam (bass baryton)
Helga Dernesch, Jon Vickers, Karl Ridderbusch, Zoltan Kéléman, José van Dam, Helen Donath, Horst R. Laubenthal, Werner Hollweg, Siegfried Rudolf Frese. Recorded: 1970, Jesus Christus Kirche, Berlin.
Fidelio (Op. 72) stands as Ludwig van Beethoven's sole opera, composed in German with spoken dialogue spanning two acts. The libretto, crafted by Joseph Sonnleithner in German, draws inspiration from Jean-Nicolas Bouilly's French narrative, previously used in operas like Pierre Gaveaux's "Léonore, ou L’amour conjugal" (1798) and Ferdinando Paer's "Leonora" (1804). The storyline revolves around Leonore, who, in the guise of a prison guard named "Fidelio," endeavors to rescue her husband Florestan from a perilous political imprisonment.
In the backdrop, Bouilly's scenario aligns seamlessly with Beethoven's artistic and political inclinations, depicting a tale of personal sacrifice, heroism, and ultimate triumph-a thematic resonance with Beethoven's "middle period." The opera encapsulates a struggle for liberty and justice, echoing the contemporaneous political movements in Europe.
Similar to other vocal compositions by Beethoven, the pivotal roles of Leonore and Florestan demand remarkable vocal prowess and endurance to convey the necessary intensity. Stellar performances in these roles have garnered admiration. The opera boasts memorable moments, including the poignant "Prisoners' Chorus," an anthem to freedom sung by political prisoners, Florestan's vision of Leonore as an angelic savior, and the climactic rescue scene. The finale reveres Leonore's bravery, featuring alternating contributions from soloists and the chorus.
Fidelio underwent several iterations before achieving widespread success. The first production in Vienna's Theater an der Wien in 1805, presented in three acts, faced challenges due to the city's French military occupation. Pressure from friends led Beethoven to revise the opera into a two-act version in 1806, accompanied by a new overture ("Leonore No. 3"). Despite initial disputes, subsequent performances proved more successful. Beethoven further revised the opera in 1814, with additional input on the libretto from Georg Friedrich Treitschke. This version, titled Fidelio, premiered in 1814 and marked a significant success for Beethoven.
Notably, Beethoven expressed the challenges he faced in a letter to Treitschke, stating, "I assure you, dear Treitschke, that this opera will win me a martyr's crown. You have by your co-operation saved what is best from the shipwreck. For all this, I shall be eternally grateful to you." All three versions of the opera were published as Beethoven's Opus 72.

[@sheldonbazinga3985]

Beethoven et Karajan.... Quelle alchimie! Tout ce qu'il faut de force et de convictions, et ce monumental orchestre de Berlin... Quel instrument merveilleux!

[@kniazigor2276]

Une très grande version de Fidelio !

[@irinablinova4239]

dankeschön

[@rosariorebelo7886]

May I hear Bruckner 9 simphony instead an opera in photo?

[@NormanAlexander-p7e]

Why not just do a search for that?

[@jorgelopez-pr6dr]

😅