Organization

Mise en scène

Matthias Hartmann

Direction d'orchestre

Zubin Mehta

Décors

Volker Hintermeier

Direction de choeur

Lorenzo Fratini

Lumières

Valerio Tiberi

Costumes

Sophie Leypold

Chanteur

Ténor

Leonardo Melani

Premier Prisonnier

Luca Tamani

Basse

Nicolò Ayroldi

Deuxième Prisonnier

Lisandro Guinis

Soprano

Lise Davidsen

Léonore

Klaus Florian Vogt

Florestan

Baryton

Tomasz Konieczny

Don Pizarro

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

allemand

Fidelio

Florence

Italie

Teatro del Maggio Musicale Fiorentino

Sala Zubin Mehta

Fidelio Beethoven

Public

italien

anglais

Valide

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

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble

Coproducteur