Amanda Forsythe

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, David Butt Philip plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime.

Le véritable héros de ce Guillaume Tell admirablement complet, présenté à Pesaro en août 2013, est le maestro local Michele Mariotti. L’inimitable ouverture, heureusement non mise en scène, est magnifiquement interprétée, avec de splendides solos de violoncelle et de flûte : le niveau d’excellence ne faiblit jamais. La partition extraordinaire de Rossini, datant de 1829, annonce déjà Meyerbeer, Berlioz, Glinka, Verdi et Wagner, entre autres. La mise en scène de Graham Vick met en avant la lutte des classes, symbolisée par un poing levé sur le rideau rouge et blanc. Les costumes édouardiens opposent les Autrichiens, vêtus de blanc en tenue de soirée, aux Suisses, habillés de noir et chargés de nettoyer le sol pendant que les dirigeants profitent d’un tournage — dont plusieurs séquences suivront. Ainsi, le pêcheur Ruodi se retrouve dans un bateau avec une blonde et un décor artificiel, tandis que Tell et sa famille assurent le support technique.

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelio’s inspiring message of shared humanity.

In the plot for this production the story is updated to the 1970s. Gamberotto is a vegetable import/export merchant. According to the Dynamic website Ernestina is a seductive businesswoman. However when she first appears she drifts about reading a book entitled ‘Love’. Buralicchio becomes an Elvis rocker. Leave the rest of the plot alone, yes, including the castrati part, and you are indeed in the land of the ridiculous. Suspend disbelief? Essential if the plot is to have any relevance.