Hess 110 – Fidelio or L’amor coniugale, second version of the opera, in two acts, performed in Vienna at the Theater an der Wien on March 29 and April 10, 1806. B. 72/a – H. 110 – KH. 72/11 – L. III, p. 148, 156 -N. 72/2 – T. 125.

Also in this second version, as mentioned, the opera was presented in the theater under the title “Fidelio,” contrary to Beethoven’s wishes. The title “Leonora” was only given to the libretto and the reduction for voice and piano. The libretto was printed and published by Anton Pichler at Beethoven’s expense in 1806 under the title:
“Leonora – oder – der Triumph der ehelichen Liebe – Eine – Oper in zwey Aufzügen – Frey nach dem Französischen bearbeitet – von – Joseph Sonnleithner – In Musik gesetzt – Von – Ludwig van Beethoven – Für das k. auch k.k. Hoftheater an der Wien”
(Leonora – Or – The Triumph of Marital Love – An – Opera in Two Acts – Freely Adapted from the French – By – Joseph Sonnleithner – Set to Music – By – Ludwig van Beethoven – For the Royal and Imperial Court Theater an der Wien).

Hess meticulously reported in his study, alongside the text of the first version, all the passages that differ from this libretto. The original manuscript of the Overture is lost. A copy, from the Artaria collection and kept in Berlin, was used for printing the orchestral parts in 1810 and the full score in June 1828: both editions were supervised by the publisher Breitkopf and Härtel, always under the title “Leonora.” The original manuscript of the opera was once held by Breitkopf and Härtel but has since been lost. The opera was not published at that time and was distributed by the same publisher always in copies, again under the title of “Leonora.”

The Vienna publisher Cappi published in 1807 the numbers 3 (Terzetto: “Ein Mann ist bald genommen”), 4 (Canon: “Mir ist so Wunderbar!”), and 10 (Duet: “Um in der Ehe froh’ Leben”) in voice and piano arrangement. A first voice and piano version completed by Carl Czerny was published in 1810 by Breitkopf and Härtel (“Leonore, oper in zvey Aufzügen”), but it did not include the Overture, Rocco’s gold aria, nor the two finales. In a subsequent 1815 edition with the same title, the Overture was added. In 1843, a posthumous edition was published again by Breitkopf and Härtel, entitled “Arie für eine Bass-Stimme mit Begleitung des Pianoforte aus Fidelio von L. v. B.” (Aria for bass voice with piano accompaniment from Fidelio by L. v. B.) whose full correspondence with the first finale involving the chorus remains uncertain.

The complete critical edition for voice and piano was prepared by Otto Jahn and published, possibly in 1853 (the preface is dated 1851) by Breitkopf and Härtel. Jahn based his work not only on Czerny’s edition but also on a score reconstructed by the Leipzig musician Louis Weissenborn, using orchestral parts formerly owned by director Franz Seconda, which later passed to the State Theater of Wiesbaden and were lost during the 1939-45 war.

Previous performances held in November 1805 met with little success due to particularly unfavorable circumstances shortly after the occupation of the city by French troops. After the initial days of disorientation and the return of more peaceful city life, some began to consider a revival in which the opera, suitably modified, streamlined (including spoken text), and better prepared, could be fairly appreciated by the public. This idea mainly came from Prince and Princess Lichnowsky, great friends and patrons of Beethoven, the loyal Stephan Breuning, and the poet and playwright Heinrich von Collin (author of the “Coriolan” for which Beethoven would write the famous Overture a few years later), though convincing Beethoven was not easy.

Eventually, a meeting was arranged around mid-December to agree on the modifications. Present were, besides those mentioned, the young tenor Josef Röckel, recently acclaimed in Vienna as an ideal Florestan replacing Demmer; the violinist Franz Clement, artistic director of the Theater an der Wien (for whom Beethoven was to write the Violin Concerto Op. 61 the following year); the bass Sebastian Mayer (or Meier), who had already performed the role of Pizarro; and others.

The opera was reviewed thoroughly. Princess Lichnowsky played piano, supported by Clement on violin, while Mayer and Röckel alternated vocal parts. It was a long, laborious session: Beethoven vigorously defended his music, sometimes strongly opposing proposed cuts, but in the end agreement was reached: some pages were removed, certain scenes were cut or significantly shortened; Stephan Breuning took on the task of revising the libretto.

Whether during this meeting there was talk of reworking the Overture to soften its dramatic roughness and improve its form, or if the idea came later to Beethoven’s mind, is unknown. According to Thayer-Riemann (II, 503), Beethoven might have aimed to better compete with other operas scheduled at the Theater an der Wien (Paër’s Sargino, Cherubini’s Faniska, Seyfried’s Le Sannite) by producing a more grand and impactful orchestral opening.

Reduced from three to two acts (merging the first two acts of the previous version), the opera premiered again on March 29, 1806, with the same singers except Demmer was replaced by Röckel, and was repeated on April 10. Preparation was not exceptional: Beethoven’s two letters to Mayer mention choir deficiencies, weaknesses in wind instruments, and negligence regarding dynamics and coloring—as if these shortcomings were intentional. However, the performance was a success, with potential for more if further performances had been given. But after a sharp dispute with the theater director Baron von Braun, reportedly caused by Beethoven’s suspicions about the management’s honesty, Beethoven withdrew the score after April 10 and opposed any further productions.

Overture (No. 3):
This is a reworking of the Overture composed for the 1805 performance (Overture No. 2) with the same orchestral formation (see No. 1 at n. 422). Despite sharing the same thematic material, it differs greatly in general conception and details. It is longer by 108 measures; however, this does not mean each section is proportionally longer. Some parts are longer, others shorter, balancing the overall length differently.

The first half (introduction, exposition, development until the first trumpet call) is shorter in every section; the second half (from the episode after the first trumpet call to the recapitulation, which is missing in Overture No. 2, and to the conclusion) is considerably longer. Florestan’s theme in the introduction is given a more melodious and flowing treatment with different instrumental coloring. The allegro’s exposition, despite abbreviations and many revisions, retains the original character in a more concise form. The development shows a deeper formal and expressive integration of the main exposition elements.

The concentrated drive toward the first trumpet call is less intense than the more expansive corresponding passage in the previous overture. The trumpet call itself differs rhythmically, perhaps more militarily concise. The episodes following the first and second calls differ markedly: one is broader, based on the flute motif (which also accompanied the scene in the 1805 version), with a whispered echo in the strings of the ringing rhythm; the other leads through a series of ingenious harmonic and rhythmic passages (with a poetic-fantastic element prevailing over the dramatic) to the recapitulation featuring the flute’s first theme.

In Overture No. 2, as noted, the recapitulation was replaced by a brief return in the home key of C major of Florestan’s theme in the form of the introductory adagio, which then led directly to the conclusion.

Many scholars and musicians have variously examined the relationships and differences between the two Overtures: from Schumann, who, while admiring the beauty and freshness of the second, acknowledges the artistic refinement of the third; to Graf, who highlights the artistic perfection of the latter; to Bekker, who explains the differing conception of the two from both musical and dramatic perspectives; to Furtwängler, who clearly emphasises the ethical value of the sonata form in the third; to Braunstein, who compares the two in a detailed analysis of technical and formal elements; and to Rolland, who aptly defines the second as a “symphonic drama” and the third as a “dramatic ode.”

The modifications made to the various numbers of the work were primarily aimed at shortening; often this was done rather mechanically, without much regard for the organic integrity of certain forms. Nevertheless, the overall work retained the fundamental character of the 1805 version; essential changes would only be made in the 1814 edition.

The work of Hess has also proved a useful guide in the following summary exposition.

First Act

1. (I in the first edition)— Aria: Marcellina: “O war ich schon mit dir vereint”.
   This has remained virtually unchanged, with only a slight modification in the instrumental refrain, which here faithfully echoes the melody of the sung phrase.
2. (II in the first edition)— Duet: Jaquino and Marcellina: “Jetz, Schätzchen, jetz wir sind allein”.
   In the reprise, after the episode of knocking at the door, 14 bars were removed, so that the coda immediately follows this episode.

III. (III in the first edition) — Terzetto: Marcellina, Jaquino, Rocco: “Ein Mann ist bald genommen”.
This was moved to number X.

III. (IV in the first edition) — Canon: Marcellina, Leonora, Rocco, Jaquino: “Mir ist so Wunderbar”.
No abbreviations were made. Hess notes slight differences in the adaptation of the text to the musical setting, resulting in a more polished vocal line.

Rocco’s aria: “Hat man nicht auch Gold beineben”, which in the first edition followed this canon as number V, was initially retained but with a different text by Breuning, more fitting to the character of the scene. It appears in Jahn’s edition for voice and piano; a copy of the score also exists in Berlin, differing from the 1805 version only by the absence of trumpets and timpani and by minor alterations in two places in the second oboe part. It was eventually removed, as it is missing from the Second Orchestra parts and was not included in the 1806 libretto.

1. (VI in the first edition)— Terzetto: Rocco, Fidelio, Marcellina: “Gut, Sohnchen”.
   The various cuts can only have been intended as material abbreviations; they altered the formal relationships between the sections but did not significantly change the overall character. In the 1805 edition, this piece ended the first of the three acts into which the opera was divided. In this second edition, with the addition of a brief spoken part by Rocco: “Aber nun ist der Zeit dass ick dem Gouverneur die Briefschaften überbringe”, the scene moves on.
2. (VII in the first edition)— March.
   Remained unchanged, except that the refrain is maintained in both parts. In the 1805 edition, this began Act II with a scene change.
3. (VIII in the first edition)— Aria: Pizarro: “Ha!Welche Augenblick!” with chorus.
   Shortened overall by seven bars.

VII. (IX in the first edition) — Duet: Pizarro, Rocco: “Jetzt, Alter”.
Unabridged.

VIII. (X in the first edition) — Duet: Marcellina and Leonora: “Um in der Ehe froh zu leben”.
Shortened in three places by a total of 18 bars.

1. (XI in the first edition)— Recitative and aria: Leonora: “Ach brich noch nicht, du mattes Herz!”.
   The recitative remained unchanged, but with the addition of the phrase to be delivered “sprechend oder singend”: “O Hoffnung, O komm” above the instrumental refrain theme of the aria.
   Beethoven thus attempted to fuse these refrain bars with the recitative, making the transition more intimate and closely linking the recitative to the following aria (Hess). Rolland comments: “This almost spoken sigh, to which the orchestra already responds in advance (the low horns and bassoons) with the song of Hope… it is as if one saw her coming on the clouds… She extends her arms to the unfortunate one…”
   The virtuoso vocal cadenzas that appeared in the first edition’s Allegro were removed.
2. (III in the first edition)— Terzetto: Rocco, Jaquino, Marcellina: “Ein Mann ist bald genommen”.
   Following its move from number III in the first edition, this piece, originally fitting naturally among the lighter numbers comprising almost exclusively the first act, was inserted as an intermezzo between scenes of stronger dramatic momentum; it also underwent considerable pruning in text and music.
3. (XII in the first edition)— Finale.
   a) Prisoners’ Chorus: “O welche Lust”.
   Considerably shortened in the reprise, and slightly in the first solo episode and the chorus episode which, echoing the words of the second solo, led back to the reprise.
   b) Recitative and duet: Rocco and Leonora: “Entfernt euch”.
   Reduced by a few bars in the orchestral introduction, the recitative, and the two duet parts: Allegro molto and Poco andante con moto.
   c) Entrance of Marcellina: “Ach, Vater, eilt”.
   No abbreviation.
   d) Entrance of Pizarro: “Noch immer zändert ihr hier?”.
   No abbreviation.
   e) Pizarro and guards’ chorus: “Auf euch nur will ich bauen”.
   Considerable abbreviations, both in vocal and orchestral parts and the instrumental epilogue.

Second Act

XII. (XIII in the first edition) — Introduction, recitative, and aria of Florestan: “Gott! Welche Dunkel hier!”.
Hess rightly laments that, solely to shorten the piece, this passage was deprived of intensely expressive parts such as some bars of syncopated development and instrumental intervals between recitative sections; and that the final phrase, so luminously warm in its modulation to B major: “Doch gerecht ist Gottes Wille”, was replaced by an Allegro in G major “that says nothing, a common operatic recitative.”
In the aria’s Adagio “In des Lebens Frühlingstagen”, the five-bar instrumental introduction was replaced by a single connecting bar. The Andante poco agitato remained unchanged.

XIII. (XIV in the first edition) — Melodrama: Leonora: “Wie kalt ist es in diesem unterirdischen Gewölbe!”
Abolished and replaced by pure and simple recitative.
In the duet: Rocco, Leonora: “Nur hurtig fort”, the instrumental introduction was considerably shortened.

XIV. (XV in the first edition) — Terzetto: Florestan, Leonora, Rocco: “Euch werde Lohn”.
Considerably shortened, especially in the reprise.

1. (XVI in the first edition)— Quartet: Pizarro, Leonora, Florestan, Rocco: “Er sterbe!”.
   No abbreviations; Leonora’s cry: “Todt erst sein Weib!” still appears in all orchestral parts, marked by the natural G–A interval as in the 1805 edition, though the 1810 voice and piano edition adds a flat sign. The trumpet signal differs, as in the Overture.

XVI. (XVII in the first edition)
a) Recitative: Florestan: “Ich kann mich noch nicht fassen”.
Inappropriately shortened by cutting and contracting some of the vocal and instrumental phrases, which alternated and complemented each other in small segments, building dramatic intensity up to the next duet’s outburst.
b) Duet: Florestan and Leonora: “O namenlose Freude!”.
Subjected to multiple cuts and abbreviations.

XVII. (XVIII in the first edition) — Finale.
The first part, from the inner chorus “Zur Rache!” (To revenge!) to the entrance of the minister, remained unchanged.
In the following section, from the minister’s entrance to the start of the Andante “O Gott! O welche Augenblick!”, the episode of the reunion of Jaquino and Marcellina “Zurück seh ich die Hoffnung kehren” was added, then later removed in 1814.
Of the quintet “O Gott! O welche ein Augenblick!”: Leonora, Marcellina, Florestan, Don Fernando, Rocco, only the second part with chorus participation was retained.
The subsequent episodes (Pizarro’s condemnation, the crowd’s demand for harsher punishment, Leonora and Florestan’s plea for clemency, the minister’s decision to appeal to the king’s justice, the exaltation of Leonora’s heroic love) were replaced by a bare ten-bar recitative by Don Fernando: “Hinweg mit diesem Bösewicht! Uns, Freunde, winkt süsse Pflicht; auf, lassen laut in diesen Hallen der Wonne Jubel hoch erschallen!”.
Further abbreviations were also introduced in the final episode (solos and chorus): “Wer ein holdes Weib errungen”.