Opus 72 Fidelio, opera in two acts for soloists, chorus, and orchestra
Third version based on the libretto by Sonnleithner, revised by Friedrich Treitschke, February–May 1814.
Opus 72 – Fidelio, opera in two acts for soloists, chorus, and orchestra, third version based on the libretto by Sonnleithner revised by Friedrich Treitschke, February–May 1814, Op. 72. The full score was first published in a French edition in Paris by Farrenc in 1826; in a German edition in Bonn by Simrock in 1847; and in a vocal score (voice and piano reduction) in Vienna by Artaria in August 1814. GA No. 206 (Series 20/1) – B. 72b (p. 238) – KH 72 (p. 178) – L. III, p. 158 – N. 721b – T. 125 p. 65.
Most of the original manuscripts, originating from various fascicles and collections, are preserved in the Deutsche Staatsbibliothek in Berlin. Some sketches are cited by Nottebohm.
It was a chance circumstance that gave rise to this third version. Three singers of the Imperial and Royal Court Theatre—well known and highly regarded by Beethoven—the tenor Saal, the baritone Vogl, and the bass Weinmüller, wished to organise a benefit evening for themselves with an opera that would not entail excessive costs; and they thought of reviving Fidelio.
The opportunity was favourable, as Beethoven was at that time enjoying considerable popularity, due mainly to the repeated successes of Wellington’s Victory. After some hesitation, the composer agreed—but on the condition of a complete revision of the previous version (1806), which he had not touched since. The task of reworking the text was entrusted to Treitschke, who also reduced the spoken dialogues; the music was thoroughly revised and in some places completely rewritten within the space of a few months. The first performance took place at the Kärntnertor Theatre on 23 May, and marked the opera’s success. It is uncertain whether Beethoven was, in the end, entirely satisfied with his work.
We may assume that, had he later returned to it, he might have introduced further modifications. However, given the circumstances, we must regard Fidelio as we now have it as the composer’s final word in the field of opera, and view all the changes made in this second and last revision as signs of his constant effort to perfect the dramatic style in a deeper and more expressive sense.
Let us briefly mention these alterations, the more extensive and detailed reasons and explanations for which may be found in Hess’s work already cited in connection with the two earlier versions.
The Overture. Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, timpani, strings.
The music has nothing in common, either in letter or in spirit, with that of the three earlier overtures, nor does it contain any reference to the themes or situations of the drama. It is tonally linked with the first scene, which here consists of the duet in A major between Marzelline and Jaquino (in contrast with the two earlier versions, in which the opera opened with Marzelline’s aria in C minor, now transferred to No. 2).
That Beethoven also considered this tonal relationship is shown by the fact that at first he had attempted to reuse, for the same purpose, the first of the three earlier overtures (lighter and more introductory in character than the other two), transposing it into E major.
Abandoning this plan, and probably also considering that the second and third overtures, due to their gravity, intensity, and breadth, already constituted a true musical drama in themselves rather than merely a prelude preparing the audience for the drama to follow (which, moreover, entered the tragic atmosphere only gradually, beginning with scenes of light bourgeois comedy), the composer decided to create a new overture, which subsequently remained permanently attached to the opera.
It is based on a rhythmic theme which, announced at the outset impetuously by the full orchestra and then presented softly in a broad phrase by the wind instruments (horns, clarinets), is developed in the ensuing Allegro in episodes of alternately lively and brilliant or meditative character; and these, though without producing a true contrast, nevertheless create oppositions in which one can see, from a general and purely musical-impressionistic standpoint, the succession of the various moments of the drama leading up to its triumphant resolution.
Opus 72 Fidelio
Complete opera in PDF
FIRST ACT
I. (Corresponding to No. II of the first and second versions). Duet: Jaquino and Marzelline: “Jetz, Schatzen, jetz wir sind allein”. Shortened by a further 10 bars even compared to the 1806 version. Placed before Marzelline’s aria, which in the previous versions constituted No. I (see what was said above regarding the Overture).
II. (No. I of the first and second versions). Aria of Marzelline: “Oh war ich schon mit dir vereint”. Shortened by thirteen bars compared to the 97 of the two previous versions.
No. III of the first version and No. X of the second: trio: Rocco, Jaquino, Marzelline: “Ein Mann wird bald genommen”, has been omitted.
III. (No. IV of the first version, No. III of the second). Canon: Marzelline, Leonore, Rocco, Jaquino: “Mir ist so wunderbar!”. It consists of 51 bars instead of 52 (as in the two previous versions), with bars 40 and 41 merged into a single bar.
IV. Rocco’s aria: “Hat man nicht auch Gold beineben” (No. V of the 1805 version, omitted in the 1806 version) has been restored with modifications to the original text, as already mentioned in No. 427.
V. (No. VI of the 1805 version, No. IV of the 1806 version). Trio: Rocco, Fidelio, Marzelline: “Gut, Sonnchen”. Shortened by 8 bars compared to the 1806 version (210 bars) and by 30 bars compared to the 1805 version (232 bars).
VI. March (No. VII of the 1805 version, No. V of the 1806 version). It remains unchanged, except for the removal of the refrain in the first section
VII. (No. VIII of the 1805 version, No. VI of the 1806 version). Aria of Pizarro (with chorus): “Ha, welch ein Augenblick!”. The old version was shortened by 8 bars; however, between the end of the solo section and the beginning of the chorus, 16 new bars (for chorus and solo) of a dramatic crescendo were added.
VIII. (No. IX of the 1805 version, No. VII of the 1806 version). Duet: Pizarro, Rocco: “Jetzt, Alter”. It has been shortened by 12 bars compared to that of the two previous versions (181 bars); this intensifies the dramatic impact of certain points, for example: “Dann werd’ich selbst vermummt mich in der Kerker schleichen”. The duet between Marzelline and Leonore: “Um in der Ehe froh leben”, No. X of the 1805 version and No. VIII of the 1806 version, has been omitted.
IX. (No. XI of the 1805 version, No. IX of the 1806 version). Recitative or aria of Leonore: “Ach, brich noch nicht, du mattes Herz!”. The recitative has been replaced by a completely new one of a different musical character, expanded and with different words: “Abscheulicher, wo eilst du?”. The following Adagio and Allegro, with the invocation of hope (“O Hoffnung!”), while still instrumentally and musically based on the two previous versions, have been shortened and achieve greater dramatic intensity.
X. (No. XII of the 1805 version, No. XI of the 1806 version).
a) The opening chorus of the prisoners: “O Welche Lust” remains as in the 1806 version.
b) Duet: Rocco, Leonore: “Nun sprech, wie gings?”. The brief opening recitative of Rocco from the two previous versions, with the words “Entfernt euch jetzt!” addressed to the prisoners, who silently disperse through the park, has been omitted. The duet then proceeds along the line of the two previous versions, with a few bars shortened.
c) Entrance of Marzelline: “Ach, Vater, eilt!”. Follows the previous versions, with the addition of a part for Jaquino alongside those of Rocco, Marzelline, and Leonore.
d) Entrance of Pizarro: Instead of addressing Rocco, Marzelline, and Leonore with “Noch immer zaudert ihr? noch immer seid ihr hier?” as in the two previous versions, ordering them to leave, the petty tyrant sharply reprimands Rocco for allowing the prisoners to get some fresh air. Rocco, in justification — and his words carry a certain pompousness — invokes the occasion of the king’s name day; but Pizarro orders him to have them return immediately and then hurry down to the underground chamber, where the fate of the condemned has already been decided, to dig on the spot the grave in which the body is to be buried. The subsequent scene staged between Pizarro and the chorus of guards, “Auf euch nur will ich bauen,” has been completely omitted. The act closes with the ensemble scene of the prisoners returning to the prison, lamenting the sunlight, and the “a parte” remarks of Pizarro, Rocco, Leonore, Marzelline, and Jaquino.
SECOND ACT
XI. (XIII of the 1805 version, XII of the 1806 version). Introduction, recitative, and aria of Florestan: “Gott, welch’ Dunkel hier!”. The introduction and recitative, 58 measures in the 1805 version and 43 in the 1806, have here been expanded again to reach 50 measures. The first part of the aria: “In des Lebens Frühlingstagen” — 26 measures in the 1805 version, 22 in the 1806 — has here been extended to 30 measures. The second part: “Ach, es waren schöne Tage” has been omitted and replaced with a new section in F major, completely different in music and text: 66 measures instead of the 45 of the previous versions. Florestan experiences a vision of an angel who, in the guise of Leonore, “guides him to freedom in the heavenly realm.” Poco allegro: “Und spürich nicht linde, sanft säuselnde Luft?”
XII. (XIV of the 1805 version, XIII of the 1806 version). Melodrama and duet: Leonore and Rocco: “Wie kalt ist es in diesem unterdischen Gewölbe!”. The melodrama, which had been omitted in the 1806 version and replaced by plain recitative, appears here in a clear and complete form of 27 measures. The following duet has one more measure (105 instead of 104) than in the 1806 version.
XIII. (XV of the 1805 version, XIV of the 1806 version). Trio: Florestan, Rocco, Leonore: “Euch werde Lohn”. It has been extended by 10 measures compared to the 148 of the 1806 version (the 1805 version was as long as 190 measures)
XIV. (XVI of the 1805 version, XV of the 1806 version). Quartet: Pizarro, Rocco, Leonore, Florestan: “Er sterbe!”. It is only 6 measures longer (213 instead of 207) than the two previous versions, but with several significant differences. Notably, there is a perfect fifth in Leonore’s phrase: “Tödt erst sein Weib!” instead of the third of the previous versions, and without orchestral support; likewise, the second trumpet call is without orchestral support (the two calls are identical to those of the second version, see p. 543). The greater length of the instrumental epilogue is related to the different stage conclusion, since here the mutual recognition of the two spouses occurs immediately after Pizarro and Rocco have hastily left the prison, and the subsequent orchestral measures, reinforced on the cadence in key, reflect the happy event; whereas in the two previous versions the suspended cadence introduced the episode (now rather unhappily omitted) in which the two fainted spouses gradually regained consciousness and recognition of each other, only ultimately yielding to the exuberant joy of the duet “O namenlose Freude!”
XV. (XVII-XVIII of the 1805 version, XVI-XVII of the 1806 version). Duet: Leonore and Florestan: “O namenlose Freude!”. Its duration remains unchanged compared to that of 1806. Immediately following it, in the two previous versions, came the distant chorus of vengeance, the tumultuous entrance of the people and the minister into the prison, the reaction of the two spouses ready to defend themselves from the supposed new danger, the clarifying words of the minister, the liberation of Florestan, the condemnation of Pizarro, and the celebration of marital love and human brotherhood. Now, however, with the previous scene closed by the duet at the back of the prison and the episode of the vengeance chorus and subsequent clarifications abolished, the finale opens in the castle’s courtyard in full sunlight.
The guards enter as in a parade; then on one side, Minister Don Fernando, followed by his officers and the people; and on the other, the freed prisoners, led by Jaquino and Marcellina, who pay homage to the minister. Some guards escort Pizarro, now himself a prisoner. Up to this point, the music is entirely new: orchestral introduction in march style, chorus of the people and prisoners: “Heil sei dem Tag, heil sei der Stunde,” words of the minister solemnly explaining that he has come to restore justice: “Des besten Königs Wink und Wille führt mich zu euch, ihr Armen, her,” and ending by alluding to the feeling of brotherhood: “Es sucht der Bruder seine Brüder, und kann er helfen hilft er gern.”
From the entrance of Rocco, who brings Leonore and Florestan—still in chains—before the minister, the music returns essentially to that of the previous versions, though differently applied and developed to suit the broader and more varied stage action. Don Fernando is astonished to recognize his friend, whom he had believed dead; Marcellina shows a slightly comic astonishment on realizing only now that Fidelio is a woman; the people cry out for Pizarro’s punishment. Pizarro is then led away by the guards by the minister’s order, without being able to say a single word, and Don Fernando invites Leonore to release Florestan’s chains. This is followed by the tender concerted episode: “O Gott, welche ein Augenblick!” and the jubilant final chorus: “Wer ein solches Weib errungen.”
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
