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Like no other opera, Beethoven’s Fidelio falls into two unequal halves. Act I is a historical melodrama on freedom and love in the post-Revolutionary era. Act II is a political essay on the responsibility of the individual in the face of a silent majority, a musical plea for active empathy

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Act I

Liberté, Égalité, Fraternité

A prison courtyard Marzelline, the daughter of prison director Rocco, attempts to ward off the advances of the young gatekeeper Jaquino (Jetzt, Schätzchen, jetzt sind wir allein). The two young people used to be a couple, but now she only has eyes for the new prison guard Fidelio, with whom she secretly dreams of a joint future (O wär’ ich schon mit dir vereint). What Marzelline little suspects is that Fidelio is in fact a noblewoman named Leonore, disguised as a man in order to search the prison for her vanished husband, Florestan. Leonore, Marzelline, Jaquino and Rocco indulge in wholly contrary hopes for the future (Mir ist so wunderbar).

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Nor does Rocco suspect Fidelio’s true identity. He would like his new employee to be his future son-in-law and gives him a lesson in pragmatism (Hat man nicht auch Gold beineben). Marzelline tries to get closer to Fidelio, who, however, only hopes for a favour from Rocco: a visit down to the prison’s dungeon, where Florestan is presumably being held (Gut, Söhnchen, gut, hab immer Mut).

The arrival of the governor Don Pizarro is announced (March). Pizarro, formerly Florestan’s close friend, has been transformed by political circumstances into his bitterest foe and is responsible for Florestan’s secret imprisonment. Awaiting a prison inspection by the minister, he resolves to kill Florestan before his whereabouts can be discovered (Ha! Welch ein Augenblick). Pizarro instructs Rocco to prepare for the illegal execution and in return promises a rich reward. Rocco is torn between pity and obedience (Jetzt, Alter, jetzt hat es Eile!).

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Leonore, too, sees herself forced into action by Pizarro’s plans. Terrified, she recalls her love for Florestan and her inner determination (Abscheulicher! Wo eilst du hin?). As her first act of human sympathy she persuades Rocco to allow the prisoners to spend a brief moment of happiness in the fresh air (O welche Lust, in freier Luft). Pizarro is outraged, but grants Rocco’s request to take Fidelio as his assistant into the dungeon where Florestan lies in chains. Together, Leonore and Rocco begin their descent into the secret chamber.

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Act II

‘Whoever thou art, I shall save thee...’

A dungeon

Florestan feels nothing but darkness and silence. He is denied any form of help. Only the thought of Leonore allows him to maintain his faith in God and Man (Gott! Welch Dunkel hier!). ÌýRocco and Fidelio excavate a grave. Leonore finds it hard to recognize her husband in the distraught prisoner, but she is determined to rescue him, even if he is not Florestan (Nur hurtig fort, nur frisch gegraben). She again succeeds in persuading Rocco to an act of human kindness. More than bread and water, Florestan is moved by the stranger’s comfort. He, too, does not yet recognize his wife (Euch werde Lohn in bessern Welten).

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With the entrance of Pizarro, events come thick and fast. Pizarro wants to carry out the execution in person (Er sterbe!). But just before he can murder Florestan, Fidelio steps between the two men and discloses her true identity: ‘First kill his wife!’ Amid the confusion a trumpet signal resounds, seemingly announcing the redemptive arrival of the minister, although danger still remains. Leonore and Florestan finally recognize each other (O namenlose Freude!).

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Not until the people raise their voice does the dungeon give way to an open square. A minister pardons Florestan in the name of the throng. Don Pizarro is overpowered. And Marzelline subordinates her personal feelings to the general liberation. The euphoria at Leonore’s act of rescue knows no bounds (Heil sei dem Tag).

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Tobias Kratzer

Translation by texthouse