Organization

Stage director

Matthias Hartmann

Conductor

Zubin Mehta

Set designer

Volker Hintermeier

Chorus master

Lorenzo Fratini

Lighting designer

Valerio Tiberi

Costume designer

Sophie Leypold

Singer

Tenor

Leonardo Melani

First prisoner

Luca Tamani

Bass

Nicolò Ayroldi

Second prisoner

Lisandro Guinis

Soprano

Lise Davidsen

Leonore

Klaus Florian Vogt

Florestan

Baritone

Tomasz Konieczny

Don Pizzaro

Birger Radde

Don Fernando

Franz-Josef Selig

Rocco

Francesca Aspromonte

Marzelline

Luca Bernard

Jaquino

Fondazione del Teatro del Maggio Musicale Fiorentino

Others

Coro del Maggio Musicale Fiorentino

Orchestra

Orchestra del Maggio Musicale Fiorentino

Festival del Maggio Musicale Fiorentino

Assistant Lighting Designer

Emanuele Agliati

alemana

Fidelio

Florence

Italy

Teatro del Maggio Musicale Fiorentino

Sala Zubin Mehta

Fidelio Beethoven

Public

italiera

ingelesa

Approved

Unicum of his production,  Fidelio  cost Beethoven a lot of effort: eleven years of work and rethinking that resulted in three versions of the work. The subject taken from the play by Jean-Nicolas Bouilly,  Leonora, or marital love,  was well known at the time and was part of the very fashionable genre of  pi è ce de  sauvetage., in which novel and topical elements merged in an adventurous intertwining with a happy final resolution. The first version of 1805 was accused of prolixity, the second, the following year, went better but without obtaining the desired effects. Beethoven, before putting his hand to this creature that he was unable to completely tame, decided to be patient and after a decade, now strong in the successes obtained in the instrumental field, he attempted the third and last revision. The libretto was revised by Georg Friedrich Treitschke, some pieces were eliminated, others rewritten and some passages of the orchestration retouched. May 23, 1814  Fidelio it is ready to go on stage and finally gather the much desired consent. In the latest version Beethoven fully developed themes dear to him such as the dialectic between good and evil, between justice and tyranny with the consequent final triumph of Reason and Love, enhancing them with music with epic contents.

English

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