FIDELIO Beethoven - Dutch National Opera
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- čas přidán 21. 08. 2024
- Suspecting her missing husband is being held as a political prisoner, a noblewoman disguises herself as a male prison guard. She discovers him weakened in the darkest dungeon but will she be able to rescue him before it is too late?
Dutch National Opera’s production will be unlike any Fidelio you may have seen before. In Ukrainian stage director Andriy Zholdak’s version, Beethoven’s opera is depicted through symbols, video projections and spoken texts. A master of imagery, Zholdak tells the story of this rescue opera as an imaginary fight between good and evil forces, in every person and in the universe. The central couple Leonore (Fidelio) and Florestan must fight a battle with the devil-like Pizarro to restore harmony within themselves and the world. Zholdak makes numerous references to devils, such as snakes, fallen angels and mirrors. It seems that evil disrupts everything - except the music, which is performed by a world-class cast with the prestigious Royal Concertgebouw Orchestra conducted by Andrés Orozco-Estrada.
Full performance streamed on OperaVision from 6 July 2024 at 19:00 CET to 6 November 2024 at 12:00 CET: operavision.eu...
CAST
Don Fernando
Mark Kurmanbayev
Florestan
Eric Cutler
Rocco
James Creswell
Don Pizarro
Nicholas Brownlee
Leonore
Jacquelyn Wagner
Marzelline
Anna El-Khashem
Jaquino
Linard Vrielink
First prisoner
Stefan Kennedy
Second prisoner
Peter Arink
Orchestra
Royal Concertgebouw Orchestra
Chorus
Dutch National Opera Chorus
Music
Ludwig van Beethoven
Text
Joseph Sonnleithner
New dialogues by Andriy Zholdak
Conductor
Andrés Orozco-Estrada
Director & lighting
Andriy Zholdak
Sets
Andriy Zholdak
Daniel Zholdak
Costumes
Andriy Zholdak
Simon Machabeli
Video
Etienne Guiol
Video assistant
Malo Lacroix
Dramaturg
Luc Joosten
OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.
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Beethoven won't be forgotten. The stage director will.
Yes, indeed.
Both will be, and it's a good thing
I shall not forget the stagedirector for the rest of my life because I never want to see his “work” again.
Just NO. Today especially, the nobility of FIDELIO as an expression of the yearning for political and personal Freedom - and Just Government - is needed. It should be simply done without directorial ephemera. But the singers are excellent!
Very depressing to hear an audience enthusiastically applauding this Scheiss. A number of comments here remark that the opera is boring, 3rd-rate Beethoven, hackneyed, irrelevant--I can't believe that people can think this of this wonderful opera with so many TOTALLY RELEVANT themes v. totalitarianism, false imprisonment for political views, political revenge, etc. And what a beautiful inspiring portrait of an heroic woman!
Beautiful music is made. And it looks kind of cool. But I'm absolutely clueless to what is happening on stage. There seems to be a lot of symbolism that goes right over my head. I heard this performance was not well received. That is a shame for all the people involved, opera is hard work.
@@billploplis6947 I agree. I played Jacquino in the Quartet and in the beginning duet with Marzelline which is funny with the orchestral knocking ion the door. Who thinks "Leonore" should be revived because it has been brought to life again once or twice? The audience applauding rubbishy "productions"? Some opera-goers wouldn't know any different! Others (like me) will boo! I just saw "Philémon et Baucis" ruined on CZcams (town of Tours) & the reception was exceedingly warm. For a lighting canopy descending with dangling flexes and a pendulum etc.. I am a realistic actor and singer & I've had to negotiate with "directors" occasionally: "the words I'm singing are..." I'll look for a more faithful "Fidelio" production. The prison camp idea has been done more than once!
#
Thought the Uber driver was convincing in his portrayal of the Uber driver who doesn’t take the route you asked him to take.
all I can say is that I am totally disappointed - especially the distraction on stage, I thought we have gotten over this kind of staging in the year 2000s
We haven´t. And I think it´s getting worse.
I too attended this version life: a complete disaster for public and performers. One of the rare occasions of bhoe calling after the first performance. Impossible to follow the story. It was really a great shame.
Who thought this was a good idea?
WHAT IS THIS STAGING?? It is nonsensical and detracts from the music. Absolute kitsch.
It is so bizarre........apart from anything else, the spoken dialogue which links the arias and ensembles, and is an integral part of the plot development, has been replaced by irrelevant nonsense. I mean, WHAT IS THE POINT?
A flaming bed !!!! REALLY !!!!???
Who cares, the music is just awful...
@@Alix777. let me guess... you'd rather be listening to Country Western??? Kpop??? Why in the name of all that's holy would you even visit this ?
@@jaydub1249 Beethoven can't write good music I'm sorry. This music is so vulgar. I like country music btw ! Greetings from Vienna.
So, first: I loved the musical side of this! The orchestra was fantastic, I also liked the singers, especially Wagner I found outstanding. Definitely a new favourite in this role for me! About the staging... not so sure. I often like modern or more experimental stagings, but this one I just don't really get. I felt that (most of) the singers were selling it as best as possible, and there were some visuals I found quite striking. But there are two major decisions where I can't really follow the director's understanding of the opera:
1. Fidelio is an overtly political opera (which, at least with that passion and clarity, is rare enough). Why de-politicize it like this and make it all about internal struggles and a big mythical fight of good vs. evil? To me, that cuts out an integral aspect of the opera. As another commenter already put it: Isn't Beethoven's political vision topical and timely? It seems like such an odd artistic choice to leave it out.
2. I found it a bit disappointing how much this staging centers Florestan. I find it so refreshing that Fidelio is an opera where the male protagonist is genuinely power-less and fully in need of being rescued (again: rare enough). So I found the parts in the first half where Pizarro "tempts" Florestan kind of unnecessary. Florestan isn't a husband struggling to stay faithful, but a political prisoner. And Pizarro isn't some devil-like figure, but a real-life human who is corrupt and power-hungry and ready to commit murder in order to stay in power. The shift in those two characters made me feel as if I was watching Gounod's Faust/Marguerite instead of Fidelio. It's just a completely different plot. Again, I just don't understand the artistic reasoning behind that.
Plus an afterthought: I've seen quite a few Fidelios already and could (mostly) follow along, but it does make me wonder how people would feel when this is their first time seeing this opera and they don't already know the story. Wouldn't it be super confusing? The story not matching the description. The words sung and spoken not matching the actions. I don't know, it just doesn't feel very accessible.
Nevertheless: Thanks to everyone involved for putting in all the effort and work! For the musical side, it is 100% worth watching :)
Maybe the worst production from DNO ever?
Brilliant singing and Orchestral playing. I'm not a fan of this production though. I just didn't get it. Anyway, thanks @DutchNationalOpera and @Operavision
No, I couldn't get what the production team was trying to do.
Ich habe grosses Verständnis dafür, dass man in Oper und Schauspiel auch neue Wege geht; denn erstens ist das Herkömmliche schliesslich abgedroschen, und zweitens sind die Inhalte ja immer noch oder immer wieder gültig. Aber ich habe noch nie eine solche Transposition erlebt, die mich überzeugt hat. Es ist also eine weit grössere Herausforderung, Bühne und Darstellung zu modernisieren, als in der Zeit zu bleiben, in welcher das Werk entstanden ist.
In my opinion, this opera was created by the conposer only for the ears that love it, but not for the eyes. ❤
If you can't imagine your own story, why destroying someone else's
It went off the rails at the beginning, when the whooshing sound went right-to-left but the speaker followed it looking left-to-right, and it never recovered.
Edit: The idea that Pizarro might be a furry is kind of funny, actually.
AHHAHA
Horrible staging
This spectacle is an affront. Another story was inserted. They even changed the music, placing the Funeral March from Sinfonia Eroica in the middle of the score. It irritated me, I stopped watching it. Musically it is also not top notch. A bad step for Opera Vision
Is most of this silent or am I going deaf like Beethoven? And Leonore is supposed to disguised as Fidelio...not wearing 1980's ladies' business clothes. These stage directors need to go to rehab
Just when you thought it was safe to resume watching modern stagings…
I must admit that this is a modern staging I just could NOT come to terms with.....and usually I am an enthusiast for modern stagings, 😊
I was live attending this version in the Dutch Opera House. Great performance !!! Special vision. So looking forward to experience again....
It's sick, disturbing from before the beginning, and it just didn't give me the wish to continue watching. It's too bad for the musicians who seem to be great.
We started watching it, but after a while we got so annoyed with it that we switched over to BBC Radio 3 to listen to L'INCORONAZIONE DI POPPEA.
The singing is magnificent, but the staging and dialogue 😢
@@PeterWeeks I feel sorry for those talented and hard-working singers who are losing audiences because of such bad self-centred stage directors.
@@angeliamilanovic6476 I must say that “Florestan” looked like he wanted to get off stage as quickly as possible during the curtain call.
I like new productions and perspectives. But I'm not interested in the neuroses of directors and their ignorance of the actual story. And why do the singers have mics? Are the accoustics that bad in Amsterdam?
Normally they don't use mics. Maybe because they had to talk? I attended this opera, as many other operas in Amsterdam, and it was by far the worst I've ever seen. Normally Amsterdam is, at least musically, of a very high quality.
@@petervanduyvenvoorde9584 When Cutler began, I thought "Jesus, where are the good voices?
Na ja, für eine Showbiz-Generation. Wer war noch Beethoven???
Für moderne Musikliebhaber ein Vergnügen. Der Geist Beethovens bleibt gewahrt. Wie auch immer eine Inszenierung ist, es wird jemand geben, der sie kritisiert. In Beethovens Zeit war eine ganz andere Welt, das sollte eine Aufführung berücksichtigen. Nebenbei: Nicholas Brownlee ist phänomenal gut.
@@tribonian3875 Man könnte allerdings bei der Story bleiben und trotzdem innovativ. Dafür gibt es genügend gute Beispiele. Aber englische Texte z. B., die wichtig scheinen und es nicht sind, finde ich gequälten Unsinn.
@@Altonahh10 Den Fall Unsinn (gibt es, da haben Sie schon recht), erlebe ich aber höchst selten. Ich bin regelmäßiger Gast in der Frankfurter Oper, hier finde ich Unterstützung durch die Regie (Erläuterungen). Das ist aber nur selten der Fall. Wogegen ich mich wehre, ist eine Oper als Kostümschlacht darzustellen. Wagner wünschte sich ein Gesamtkunstwerk, und heutzutage haben wir nun mal andere Möglichkeiten, die wir auch nutzen sollten. Das ergibt oft tiefe Einsichten in das Werk. Dieses Jahr war hier ein genialer Tannhäuser zu sehen und hören, das ging unter die Haut. In Frankfurt spätestens seit der Gielen-Ära in den 80ern wurde ich und werde ich immer noch verwöhnt. Ein Regisseur, der nur auf Innovation aus ist, und das Stück dabei vergisst, hat es hier schwer. Wir Menschen ändern uns auch: wie wurde über den Boulez-Ring in Bayreuth gewettert, damals. Heute ein Klassiker. Für mich ist die Oper die vollkommenste emotionale Kunstform, sie entwickelt sich immer weiter. Freuen wir uns auf weitere großartige Aufführungen, auch wenn eine mal etwas daneben liegen sollte.
Beethoven must be turning in his grave.
Excellent musically but why! I feel sorry for the singers going through this mayhem and absolute drivel of extra dialogue 😡
What's with the bingo calling at 25.00?
Thanks for the free view, but not the version for me.
21:02 oh God yes
I have seen so many traditional versions of Zauberflöte and Fidelio at opera houses and DVDs, that's why often I felt like I am just going there to listen arias and chorus pieces. So this was less boring and fun. Thank you!
Einmalig inspirierend. Danke sehr.
I don't think that's the original libretto.
WOW - that has got to be the absolutely best visual production of any opera I have seen - never heard it before and I do not understand a word of it, but I was completely riveted to it. Every every part of it and all the departments were superb. I need to watch it many times to understand all the symbolism. I normally like a classical interpretation, but with Beethoven his genius shines through. Thank you thank you OperaVision - I am spell bound
Who are you? The director?
@@petervanduyvenvoorde9584 ah ha - very good - but I really wish I had his imagination and skill. Did you notice that the lighting is streaks above normal opera house's quality - and I am not the lighting man either!!!
At last! Thank you, reading through the comments I thought I must be going crazy that I found this production intriquing and thought-provoking - and also very beautiful. I too will watch it again.
Povero Beethoven !
I have never loved the music of this opera, and I thought the original story was weak. So, I was glad to see the plot replaced by an allegorical pantomime. But someone has borrowed without returning my copy of Symbolism For Dummies, and I got completely lost. I had a vague impression of The Garden of Eden, what with the white-winged angels, and black-winged angels, and devils, and serpents writhing realistically. But as I recall, the story of Eden did not hand with a joyous triumphant chorus, so the message must have been something else. Can someone explain?
Lamentável !
Good singing but pretentiously silly staging
Alles ausser Fußball!
Why do we update Fidelio ? The music and singing do match the staging !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Very bad taste
I HATE these productions. It is a strong reason why I dont go the opera anymore . Its too experimental most of the time.
I prefer a good concert performance . It is the same as updating a Rembrandt. It was a product of its time, leave for what it is !
Бедный Бетховен…
Convoluted, but fun. Not a normal Fidelio; but who doesn't like walking thru mirrors and dark angel energy?
베토벤이라는 이름이 그렇게도 하찮고 가볍던가? 그들은 루트비히 반 베토벤을 모독했다 분노를 느낀다.
Ein gutes video gute sänger
😻😻
All I can say is, Beethoven would have been appalled at this production. What a way to ruin a good opera. What's up with this modernizing of opera's these days. I just don't get it. To me, this is the way to turn people off of opera. This just doesn't cut it.
Goooottt, welch ein 251567 Schrott hier!
I had to stop watching as the production was terrible
What utter rubbish, I watched 10 seconds then vomited…..
By far the most terrible production of Dutch National Opera!! OperaVision?? This production is lacking every bit of a vision unless you’re drunk or using drugs! Nevertheless I thank OperaVision for sharing this “misbaksel”…
Shame that a great orchestra was wasted on another piece of Eurotrash. Operas are famously expensive to produce, so who funds this garbage? Would be interesting to find out.
This is regie either at its finest or trashiest.
CRAP! 🤢
One of the dreariest operas ever written !! Had Beethoven not been deaf would Western music still think this opera was a cornerstone of the repertoire?
To excuse Beethoven: the libretto is kind of terrible. The trumpet call announcing the minister's arrival is a deus ex machina and classically the work should have ended quickly, but instead the story drags on and on, spinning out mechanically as predictable as a clock, and Beethoven seemed unable to write interesting music here. (The apparent exception is the wonderful duet 'O namenlose Freude', but that wasn't written for Fidelio; it was recycled from an earlier work.)
@@geckofeet The Act II opening tenor aria is wonderful, no doubt about it. The number of overtures and revisions of the opera should be enough to warn off many listeners that Beethoven was not an opera composer. HIs top-drawer symphonies and concertos are exciting. The Missa Solemnis, I think, is his best work with chorus.