Overview
Synopsis
As Beethoven鈥檚 only opera, Fidelio has delighted audiences for centuries with its themes of justice, freedom, and the strength of the human spirit. Fidelio is formally a singspiel (a piece with musical numbers separated by spoken dialogue), and it tells the story of a determined wife, Leonore, trying to find her husband, Florestan. Leonore goes through many trials in her fearless determination and resolve to rescue her husband. With Beethoven鈥檚 glorious score and the opera's uplifting spirit, Fidelio remains a favorite of opera lovers everywhere.
Show Information
- Book
- Jean-Nicolas Bouilly
- Music
- Ludwig van Beethoven
- Libretto
- Joseph Sonnleithner
- Category
- Opera
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 1805
- Genres
- Drama
- Settings
- Period
- Time & Place
- spain 18th century
- Cast Size
- medium
- Orchestra Size
- Large
- Dancing
- None
- Ideal For
- Mostly Male Cast, Includes Young Adult, Adult, Late Teen, Mature Adult Characters, Medium Cast
Context
Fidelio had a long and complicated composition history as Beethoven revised it many times. The original version of the opera premiered in Vienna in 1805 as a three-act version. The following year Beethoven shortened it from three acts to two, and after more work on the libretto by Georg Friedrich Treitschke the final two-act version was presented in 1814. Beethoven also struggled to get what he felt was the correct overture for the opera writing four different versions. The final version of
to read the context for Fidelio and to unlock other amazing theatre resources!Plot
ACT 1
A Spanish prison in the 18th Century
Jaquino, a young prison worker, is asking Marzelline, a young woman, when she will finally consent to marry him. Marzelline tells Jaquino that she will never marry him and Jaquino is very upset by this because Marzelline seemed at one time to be in love with him (鈥淛etzt, Sch盲tzchen, jetzt sind wir allein鈥�). Once Jaquino leaves her, Marzelline tells how she once liked Jaquino but ever since the arrival of Fidelio, a hard-working young man, her
to read the plot for Fidelio and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
|
Either Gender |
|
|
|
Lead |
Male |
Bass |
|
|
Lead |
Female |
Soprano |
|
|
Lead |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Bass |
|
|
Supporting |
Female |
Soprano |
|
|
Supporting |
Male |
Bass |
|
|
Ensemble |
Male |
Bass |
|
|
Ensemble |
Male |
Tenor |
Songs
- ACT 1
- Duet: Jetzt, Sch盲tzchen, jetzt sind wir allein - Jaquino, Marzelline
- Arie: O war ich schon mit dir vereint - Marzelline
- Quartet: Mir ist so wunderbar - Rocco, Marzelline, Leonore, Jaquino
- Arie: - Rocco
- Terzett: Gut, S枚hnchen, gut, hab immer Mut - Rocco, Marzelline, Leonore
- March: Orch.
- Arie: - Pizarro, Chorus
- Duett: Jetzt, Alter! Jetzt hat es Eile - Pizarro, Rocco
- Recit. & Arie: - Leonore
-
Finale: O welche lust! In freier luft. - Chorus, 1st Prisoner, 2nd Prisoner, Rocco, Leonore, Marzelline, Jaquino, Pizarro
-
ACT 2
- Arie: - Florestan
- Duet: Nur hurtig fort, nur frisch gegraben - Rocco, Leonore
- Terzett: Euch werde Lohn in bessern Welten - Florestan, Leonore, Rocco
- Quartett: Er sterbe! Doch er soll erst wissen - Pizarro, Florestan, Leonore, Rocco
- Duet: Namenlose Freude! - Florestan, Leonore
- Finale: Heil sei dem Tag! Heil sei der Stunde - Chorus, Don Fernando, Rocco, Pizarro, Leonore, Florestan, Marzelline, Jaquino
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
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Themes, Symbols & Motifs
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