Indomitable Human Spirit: Beethoven's Fidelio at Garsington

This fine production of Fidelio at Garsington Opera is a revival of their earlier one, and well deserves to be seen again. It has become a classic.

In some ways, this is the earliest Romantic opera. Beethoven searched a long time for an operatic plot that inspired him, and in this story of a wife who disguises herself in order to save her unjustly imprisoned husband, found one that embodied the highest ideals of the age of Enlightenment, revolution and liberty. These were the ideals that Beethoven once thought were embodied in the French Revolution and in Napoleon. A few years later he was disillusioned. When Fidelio was first performed in Vienna, the French occupying force quickly shut it down, in case it stirred up resistance to the Emperor whom Beethoven had once regarded as a superhero.

Florestan, the political prisoner, symbolises all victims of tyranny in despotic regimes of every sort. As a symbol of tyranny, he is comparable to Bonivard, the Prisoner of Chillon in Byron's poem; or to the French prisoner, Henri Masers de La Tude, who wrote his own harrowing life story (inspiring at least three great novels, Les Misérables, The Count of Monte Cristo, and A Tale of Two Cities). The Fidelio plot has universal relevance, being concerned with the humanitarian ideals and aspirations that are so quickly lost as soon as a regime comes to power. Florestan's wife Leonore epitomizes the highest sort of love and devotion, that transcends physical separation, danger and seemingly hopeless odds. 

This production is a revival of one first shown in 2009, at Garsington Manor, near to Oxford, where the company had its origins. Having seen it then, I can say that its transfer to the larger scale of their present home at Wormsley is a total success. 

Sally Matthews (soprano, https://owlartistmanagement.co.uk/talents/sallymatthews/) makes a compelling Leonore/Fidelio. She recently sang the role at the Berlin Statsoper. In Act I she appeared youthful, energetic and agile, quite like a jockey in her breeches. No wonder she catches the eye of Marzelline! (Isabelle Peters). In Act II, Matthews' empathy and musical merging with Florestan was sensitive and poignant. 

The gorgeous tenor voice of Florestan, (Robert Murray https://www.intermusica.com/artist/Robert-Murray ) arising from his dark cell in Act II with deep pathos, was the most beautiful sound I heard yesterday, or indeed that I have heard for a long time. It was haunting.

Our ancestors well understood what gender role is, and what it isn't. They knew that by acting the role generally allocated to men - being brave, taking risks, taking the initiative - Leonore proves that she is a wonderful woman. She rescues Florestan. There are many examples of women behaving like this, particularly in wartime, such as Agent Zo, who has been the subject of a biography by Clare Mulley. 

Garsington Opera is a simply fantastic evening out, offering superb music in an idyllic setting of landcaped gardens with teas, a restaurant, picnic facilities and happy people everywhere. No wonder it's largely booked up. Fidelio is on until 22nd July, but you might just be able to grab a spare ticket if you're lucky.

https://garsingtonopera.org/how-to-book/

If you have any questions about booking, please email boxoffice@garsingtonopera.org

https://garsingtonopera.org/whats-on/fidelio/