792:. Beethoven then focused this version for the performances of 1806, creating "Leonore No. 3", also in C major. The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the effect of overwhelming the (rather light) initial scenes of the opera. Beethoven accordingly experimented with cutting it back somewhat, for a planned 1808 performance in Prague; this is believed to be the version now called "Leonore No. 1". Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what is now known as the
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1140:—"If you don't have any money"). Fidelio demands to know why Rocco will not allow for help in the dungeons, especially as he always seems to return short of breath. Rocco says that there is a dungeon down there where he can never take Fidelio, which houses a man who has been wasting away for two years. Marzelline begs her father to keep Fidelio away from such a terrible sight, but Fidelio claims courage sufficient to cope with it. Rocco and Fidelio sing of courage (
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1234:—"Speak, how did it go?"). Rocco and Fidelio prepare to go to Florestan's cell, with the knowledge that he must be killed and buried within the hour. Fidelio is shaken; Rocco tries to discourage Fidelio from coming, but Fidelio insists. As they prepare to leave, Jaquino and Marzelline rush in and tell Rocco to run, as Pizarro has learned that the prisoners were allowed to roam, and is furious (
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1330:—"So help! Help the poor ones!"). Rocco explains how Leonore disguised herself as Fidelio to save her husband. Previously in love with Fidelio, Marzelline is shocked. Rocco describes Pizarro's murder plot, and Pizarro is led away to prison. Florestan is released from his chains by Leonore, and the crowd sings the praises of Leonore, the loyal savior of her husband (
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282:. Bouilly's scenario fits Beethoven's aesthetic and political outlook: a story of personal sacrifice, heroism, and eventual triumph. With its underlying struggle for liberty and justice mirroring contemporary political movements in Europe, such topics are typical of Beethoven's "middle period". Notable moments in the opera include the "Prisoners' Chorus" (
1211:—"Now, old man, we must hurry!"). Pizarro says he will kill Florestan himself instead, and orders Rocco to dig a grave for him in the floor of the dungeon. Once the grave is ready, Rocco is to sound the alarm, upon which Pizarro will come into the dungeon and kill Florestan. Fidelio, hearing Pizarro's plot, is agitated, but hopes to rescue Florestan (
1125:—"If only I were already united with thee"). Rocco enters, looking for Fidelio, who then enters carrying a heavy load of newly repaired chains. Rocco compliments Fidelio, and misinterprets her modest reply as hidden attraction to his daughter. Marzelline, Fidelio, Rocco, and Jaquino sing a quartet about the love Marzelline has for Fidelio (
536:, premiered at the Theater an der Wien on 20 November 1805, with additional performances the following two nights. The success of these performances was hindered by the fact that Vienna was under French military occupation, and most of the audience were French military officers who had little interest in German opera.
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Jaquino once again begs
Marzelline to marry him, but she continues to refuse. Fidelio, hoping to discover Florestan, asks Rocco to let the poor prisoners roam in the garden and enjoy the beautiful weather. Marzelline similarly begs him, and Rocco agrees to distract Pizarro while the prisoners are set
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is played as
Pizarro enters with his guards. Rocco warns Pizarro that the minister plans a surprise visit tomorrow to investigate accusations of Pizarro's cruelty. Pizarro exclaims that he cannot let the minister discover the imprisoned Florestan, who has been thought dead. Instead, Pizarro will have
539:
After this premiere, Beethoven's friends suggested he revise and shorten the opera into just two acts, and he did so with the help of his close friend, Stephan von
Breuning. The composer also wrote a new overture (now known as "Leonore No.3"; see below). In this form, the opera was first performed on
1245:, and quietly suggests that Pizarro should save his anger for the prisoner in the dungeon below. Pizarro tells him to hurry and dig the grave, and then announces that the prisoners will be locked up again. Rocco, Leonore, Jacquino, and Marzelline reluctantly usher the prisoners back to their cells. (
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The warden of the prison, Rocco, has a daughter, Marzelline, and an assistant, Jaquino, who is in love with
Marzelline. The faithful wife of Florestan, Leonore, suspects that her husband is still alive. Disguised as a boy, under the alias "Fidelio", she gains employment working for Rocco. As the boy
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is not an opera in the sense we are used to, nor is
Beethoven a musician for the theater, or a dramaturgist. He is quite a bit more, a whole musician, and beyond that, a saint and a visionary. That which disturbs us is not a material effect, nor the fact of the 'imprisonment'; any film could create
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Just then, the trumpet is heard, announcing the arrival of the minister. Jaquino enters, followed by soldiers, to announce that the minister is waiting at the gate. Rocco tells the soldiers to escort
Governor Pizarro upstairs. Florestan and Leonore sing to their victory as Pizarro declares that he
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Florestan awakes and
Fidelio recognizes him. When Florestan learns that the prison he is in belongs to Pizarro, he asks that a message be sent to his wife, Leonore, but Rocco says that it is impossible. Florestan begs for a drop to drink, and Rocco tells Fidelio to give him one. Florestan does not
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he conjugal love of
Leonore appears, to the modern individual armed with realism and psychology, irremediably abstract and theoretical.... Now that political events in Germany have restored to the concepts of human dignity and liberty their original significance, this is the opera which, thanks to
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Two years prior to the opening scene, the
Spanish nobleman Florestan has exposed or attempted to expose certain crimes of a rival nobleman, Pizarro. In revenge, Pizarro has secretly imprisoned Florestan in the prison over which he is governor. Simultaneously, Pizarro has spread false rumors about
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has more of the Mass than of the Opera to it; the sentiments it expresses come from the sphere of the sacred, and preach a 'religion of humanity' which we never found so beautiful or necessary as we do today, after all we have lived through. Herein lies the singular power of this unique opera....
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No other work of
Beethoven's caused him so much frustration and disappointment. He found the difficulties posed by writing and producing an opera so disagreeable, he vowed never to compose another. In a letter to Treitschke he said, "I assure you, dear Treitschke, that this opera will win me a
286:—"O what a joy"), an ode to freedom sung by a chorus of political prisoners, Florestan's vision of Leonore who comes as an angel to rescue him, and the scene in which the rescue finally takes place. The finale celebrates Leonore's bravery with alternating contributions of soloists and chorus.
1304:—"Let him die! But first he should know"). As Pizarro brandishes a dagger, Fidelio leaps between him and Florestan and reveals her identity as Leonore, the wife of Florestan. Pizarro raises his dagger to kill her, but she pulls a gun and threatens to shoot him.
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Rocco obeys his orders and sounds the alarm for Pizarro, who appears and asks if all is ready. Rocco says that it is, and instructs Fidelio to leave the dungeon, but Fidelio hides instead. Pizarro reveals his identity to Florestan, who accuses him of murder
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Jaquino and Marzelline are alone in Rocco's house. Jaquino asks Marzelline when she will agree to marry him, but she says that she will never marry him now that she has fallen in love with Fidelio, unaware that Fidelio is actually Leonore in disguise
588:(1762) — another underground rescue mission in which the protagonist must control, or conceal, his emotions in order to retrieve his spouse — it is not known whether Beethoven or any of the librettists had this in mind while constructing the opera.
509:(1804), both of which were based on the same source material as Beethoven's opera (and in fact Beethoven is known to have owned a copy of Paer's score). Beethoven published the 1806 libretto and, in 1810, a vocal score under the title
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The first performance outside Vienna took place in Prague on 21 November 1814, with a revival in Vienna on 3 November 1822. In its two-act version, the opera was staged in London on 18 May 1832 at the
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states that it goes back to the middle of the 19th century and was therefore prior to Mahler. In this location, it acts as a kind of musical reprise of the rescue scene that has just taken place.
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worked out a contract with Beethoven to write an opera. The contract included free lodging for Beethoven in the apartment complex that was part of Schikaneder's large suburban theater, the
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Rocco tells Fidelio that as soon as the governor has left for Seville, Marzelline and Fidelio can be married. He tells them, however, that unless they have money, they will not be happy. (
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After meeting with Pizarro, Rocco reenters and tells Fidelio that Pizarro will allow the marriage, and Fidelio will also be permitted to join Rocco on his rounds in the dungeon (
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Before they can leave, Pizarro enters and demands an explanation. Rocco, thinking quickly, answers that the prisoners were given a little freedom in honor of the Spanish king's
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800:. As this somewhat lighter overture seems to work best of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.
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introduced the practice of performing "Leonore No. 3" between the two scenes of the second act, something which was common until the middle of the twentieth century,
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the same effect. No, it is the music, it is Beethoven himself. It is this 'nostalgia of liberty' he feels, or better, makes us feel; this is what moves us to tears. His
1207:—"Hah! What a moment!"). As a signal, Pizarro orders that a trumpet be sounded at the minister's arrival. He offers Rocco money to kill Florestan, but Rocco refuses (
1326:—"Hail to the day!"). The minister, Don Fernando, announces that tyranny has ended. Rocco enters, with Leonore and Florestan, and he asks Don Fernando to help them (
1961:
788:, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as "Leonore No. 2" in
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1280:—"In the spring days of life"). Florestan collapses and falls asleep, while Rocco and Fidelio come to dig his grave. As they dig, Rocco urges Fidelio to hurry (
768:
had the chorus appear in normal street clothes at the end, signifying their role as representatives of the audience. Four weeks later, on 9 November 1989, the
1979:
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Florestan is alone in his cell, deep inside the dungeons. He sings first of his trust in God, and then has a vision of his wife Leonore coming to save him (
477:, was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. Although Beethoven used the title
399:
had a long and complicated history of composition. Portions of the score were originally written for an earlier, never-completed opera. Beethoven revised
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on 23 May 1814. As these libretto revisions were going on, Beethoven was also revising some of the music. By convention, only the final version is called
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at the city's main train station. The applause after the "Prisoners' Chorus" interrupted the performance for considerable time, and the production by
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29 March and 10 April 1806, with greater success. Further performances were prevented by a disagreement between Beethoven and the theatre management.
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was in the audience, having sold his school books to obtain a ticket. The increasingly deaf Beethoven conducted the performance, "assisted" by
424:; however, this libretto was not to Beethoven's liking. He spent about a month composing music for it, then abandoned it when the libretto for
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1296:—"You shall be rewarded in better worlds"). Fidelio further begs Rocco to be allowed to give Florestan a crust of bread, and Rocco consents.
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martyr's crown. You have by your co-operation saved what is best from the shipwreck. For all this I shall be eternally grateful to you."
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Fidelio, she earns the favor of her employer, Rocco, and also the affections of his daughter Marzelline, much to Jaquino's chagrin.
439:, Pizarro's "'Ha! Welch' ein Augenblick!" and the duet "O namenlose Freude" for Leonore and Florestan, both originated as music for
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recognize Fidelio, his wife Leonore in disguise, but tells Fidelio that there will be reward for the good deed in Heaven (
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On orders, Rocco has been giving the imprisoned Florestan diminishing rations until he is nearly starved to death.
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1121:—"Now, darling, now we are alone"). Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife (
571:, who later became known for his collaborations with Schubert. This version of the opera was a great success, and
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We realize that for us Europeans, as for all men, this music will always represent an appeal to our conscience.
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1227:—"O what a joy"), but remembering that they might be caught by the prison's governor Pizarro, are soon quiet.
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rewrote the libretto, shortening the work from three acts to two. After further work on the libretto by
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The full score was not published until 1826, and all three versions are known as Beethoven's Opus 72.
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three times; the work caused Beethoven so much vexation that he vowed never to compose another opera.
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Programming the Absolute: Nineteenth-century German Music and the Hermeneutics of the Moment
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Léonore, ou l'amour conjugal; fait historique en deux actes et en prose mêlée de chantes
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In 1814, Beethoven revised his opera yet again, with additional work on the libretto by
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in Dresden on 7 October 1989 on the occasion of the 40th anniversary of the DDR (
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The prisoners and townsfolk sing to the day and hour of justice which has come (
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was the first opera performed in Berlin after the end of World War II, with the
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1144:—"All right, sonny, all right"), and Marzelline joins in their acclamations.
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The libretto tells how Leonore, disguised as a prison guard named "Fidelio",
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1312:—"Revenge's bell tolls"). Together, Florestan and Leonore sing a love duet (
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free. The prisoners, ecstatic at their temporary freedom, sing joyfully (
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Independent of any historical consideration ... the flaming message of
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324: in this section. Unsourced material may be challenged and removed.
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is now commonly used to designate the first two versions of the opera"
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will have revenge, while Rocco expresses his fear of what is to come (
692:'s Germany without covering their faces and rushing out of the hall!"
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itself, which Beethoven began in 1804 immediately after giving up on
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the music of Beethoven, gives us comfort and courage.... Certainly,
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This article is about Beethoven's only opera. For other uses, see
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at a time when there were about 800 television sets in Austria.
1943:
418:. Beethoven was to set a new libretto by Schikaneder, entitled
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741:. This performance was the first live television broadcast by
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for both the 1805 (three-act) and 1806 (two-act) versions and
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on 20 November 1805. The following year, Beethoven's friend
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remarked: "What amount of apathy was needed to listen to
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Klemperer on Music: Shavings from a Musician's Workbench
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Here, the overture "Leonore No. 3" is sometimes played.
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Although critics have noted the similarity in plot with
1288:—"Come get to work and dig", the "Gravedigging Duet").
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Not long after the end of World War II and the fall of
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was not entirely wasted, as two important numbers from
71:, playbill of the third and finalized premiere at the
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at the theatre's insistence, to avoid confusion with
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1566:"Estate and Collection of George and Ursula Andreas"
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Roles, voice types, premiere casts of three versions
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has been part of the operatic repertory ever since.
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dates from 1803, when the librettist and impresario
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Beethoven with the Manuscript of the Missa Solemnis
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1986:
642:network, in December 1944. Toscanini conducted the
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1284:—"How cold it is in this underground chamber" and
1129:—"A wondrous feeling fills me", also known as the
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1282:Wie kalt ist es in diesem unterirdischen Gewölbe!
1089:Place: A Spanish state prison, a few miles from
290:Composition and 19th century performance history
1462:, edited by James Knowles, Volume XXIX, 1891,
780:Beethoven struggled to produce an appropriate
2321:Ira F. Brilliant Center for Beethoven Studies
1955:
623:) and Leonore (Karina Kutz); September 1945,
602:, and in New York on 9 September 1839 at the
481:Leonore, oder Der Triumph der ehelichen Liebe
214:Leonore, oder Der Triumph der ehelichen Liebe
8:
903:his wife, disguised as a man under the alias
772:signalled the end of East Germany's regime.
513:. The current convention is to use the name
479:
212:
117:Original premiere 20 November 1805
42:
1572:, 13 November 2010, accessed 17 April 2011.
524:The first version, with a three-act German
1962:
1948:
1940:
1555:, Princeton University Press, 2002, p. 47.
1542:, Cambridge University Press, 2012, p. 45.
547:. This version was first performed at the
125:; reworked version 29 March 1806
62:
38:
1802:International Music Score Library Project
384:Learn how and when to remove this message
133:; finalized version 23 May 1814
1934:Synopsis, details, libretto, sound clips
1630:
1628:
1539:The Cambridge Companion to Opera Studies
1460:The Nineteenth Century: a Monthly Review
1119:Jetzt, Schätzchen, jetzt sind wir allein
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1261:Rocco (Wilhelm Schirp) and Marzelline (
259:, a final version was performed at the
221:Leonore, or The Triumph of Marital Love
1607:
1498:
1217:Komm, Hoffnung, lass den letzten Stern
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551:on 23 May 1814, again under the title
458:The theatrical mask contemplated by a
278:her husband Florestan from death in a
1458:"The New Orfeo: an Appreciation", in
204:
7:
1877:at the Opera Company of Philadelphia
1286:Nur hurtig fort, nur frisch gegraben
322:adding citations to reliable sources
267:, and the others are referred to as
1893:2018 cinematic production 'Fidelio'
1328:Wohlan, so helfet! Helft den Armen!
1302:Er sterbe! Doch er soll erst wissen
676:at the only undamaged theatre, the
567:. The role of Pizarro was taken by
2311:British première of Symphony No. 9
1717:. Vol. 2. London: Macmillan.
680:, in September 1945. At the time,
521:only for the final 1814 revision.
247:. The opera premiered at Vienna's
27:Only opera by Ludwig van Beethoven
25:
2427:Overtures by Ludwig van Beethoven
1714:The New Grove Dictionary of Opera
1622:, synopsis, libretto, highlights.
1294:Euch werde Lohn in bessern Welten
1249:—"Farewell, you warm sunshine").
2364:
2339:
2338:
2272:Birthplace of Beethoven's mother
2034:
1999:Relationship with contemporaries
1672:Fidelio, oder Die eheliche Liebe
1511:"Toscanini conducts Beethoven's
1209:Jetzt, Alter, jetzt hat es Eile!
1189:Problems playing this file? See
1168:
1138:Hat man nicht auch Gold beineben
1054:Soldiers, prisoners, townspeople
610:20th-century performance history
298:
167:
1276:—"God! What darkness here" and
1247:Leb wohl, du warmes Sonnenlicht
1238:—"O, father, father, hurry!").
1213:Abscheulicher! Wo eilst du hin?
1123:O wär ich schon mit dir vereint
309:needs additional citations for
2402:Operas by Ludwig van Beethoven
1772:The Oxford Dictionary of Opera
1742:; Anderson, Martin J. (1986).
856:Conductor: Ignaz von Seyfried
703:remarked in Salzburg in 1948:
672:staging it under the baton of
1:
1475:Klemperer & Anderson 1986
1334:—"Who has got a good wife").
462:on the Beethoven monument by
1688:. New York: Penguin Putnam.
1342:The orchestra consists of 1
1332:Wer ein holdes Weib errungen
1278:In des Lebens Frühlingstagen
496:Léonore, ou L'amour conjugal
431:The time Beethoven spent on
2026:Concert of 22 December 1808
1858:Description of Beethoven's
1685:The New Penguin Opera Guide
1310:Es schlägt der Rache Stunde
239:was originally prepared by
148:, Vienna. Final version at
2443:
2136:New York and San Francisco
1870:on all-about-beethoven.com
1854:, Brooklyn Repertory Opera
1812:: A structuralist approach
1703:Johnson, Douglas (1998). "
1637:, p. 183: "The title
545:Georg Friedrich Treitschke
257:Georg Friedrich Treitschke
98:Georg Friedrich Treitschke
29:
2417:Operas adapted into films
2334:
2306:Beethoven Quartet Society
2051:Relationship with C minor
2032:
1977:
1824:, from opera.stanford.edu
1433:Dictionary.com Unabridged
1052:
760:) coincided with violent
61:
50:
1770:, and Ewan West (1992).
1676:Fidelio, or Married Love
1534:Conchological Miscellany
1520:27 December 2013 at the
1274:Gott! Welch Dunkel hier!
1236:Ach, Vater, Vater, eilt!
1232:Nun sprecht, wie ging's?
1205:Ha, welch ein Augenblick
803:While some believe that
729:On 5 November 1955, the
32:Fidelio (disambiguation)
2016:Heiligenstadt Testament
1816:College Music Symposium
1806:Ilias Chrissochoidis, "
1776:Oxford University Press
1774:. Oxford and New York:
1198:All but Rocco leave. A
1095:Time: Late 17th century
1025:Johann Michael Weinkopf
770:fall of the Berlin Wall
428:came to his attention.
144:First two premieres at
84:Originally prepared by
2392:German-language operas
2301:Beethoven Project Trio
1899:"Mir ist so wunderbar"
1524:, details and reviews.
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1154:
1113:
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992:governor of the prison
852:Second version: 2 acts
727:
644:NBC Symphony Orchestra
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480:
467:
406:The distant origin of
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75:in Vienna, 23 May 1814
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18:Leonore Overture No. 3
2422:Operas set in Seville
1882:27 April 2009 at the
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861:Final version: 2 acts
837:First version: 3 acts
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646:, featuring soloists
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209:), originally titled
92:. Later shortened by
88:, from the French of
2282:Beethoven quadrangle
2066:Compositional method
1980:List of compositions
1971:Ludwig van Beethoven
1808:Dramatic pairing in
1316:—"O unnamed joy!").
1267:Deutsche Oper Berlin
1203:Florestan murdered (
1127:Mir ist so wunderbar
1108:Act 1, prison yard (
890:Joseph August Röckel
625:Deutsche Oper Berlin
534:Jean-Nicolas Bouilly
318:improve this article
253:Stephan von Breuning
245:Jean-Nicolas Bouilly
233:Ludwig van Beethoven
94:Stephan von Breuning
90:Jean-Nicolas Bouilly
56:Ludwig van Beethoven
2407:Operas set in Spain
2277:Beethoven Peninsula
1866:28 May 2020 at the
1843:Fidelio (character)
1822:Performance history
1570:The National Herald
1551:Berthold Hoeckner,
1536:, Volume 4, p. 23;
1386:. There is also an
1314:O namenlose Freude!
1265:); September 1945,
1067:Florestan's death.
1007:Johann Michael Vogl
823:
748:The first night of
733:was re-opened with
701:Wilhelm Furtwängler
678:Theater des Westens
569:Johann Michael Vogl
532:from the French of
530:Joseph Sonnleithner
464:Kaspar von Zumbusch
416:Theater an der Wien
412:Emanuel Schikaneder
249:Theater an der Wien
243:from the French of
241:Joseph Sonnleithner
231:by German composer
206:[fiˈdeːlio]
146:Theater an der Wien
86:Joseph Sonnleithner
2154:Mähler's portraits
2116:List of sculptures
2083:Biamonti Catalogue
1936:, opera-inside.com
1924:Vienna State Opera
1852:'Updated' synopsis
1594:, 20 October 1989
1270:
1155:
1142:Gut, Söhnchen, gut
1114:
1079:
969:assistant to Rocco
846:Ignaz von Seyfried
819:
731:Vienna State Opera
629:
555:. The 17-year-old
549:Kärntnertortheater
468:
261:Kärntnertortheater
227:. 72, is the only
150:Kärntnertortheater
73:Kärntnertortheater
2352:
2351:
2191:Copying Beethoven
2056:Collected edition
1928:Leonard Bernstein
1916:Manfred Jungwirth
1889:Jan Schmidt-Garre
1746:. Toccata Press.
1582:"Kurz in Dresden"
1324:Heil sei dem Tag!
1180:Alice Guszalewicz
1173:
1059:
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766:Christine Mielitz
585:Orfeo ed Euridice
394:
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16:(Redirected from
2434:
2369:
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2316:Eroica Peninsula
2296:Beethoven Frieze
2286:Beethoven crater
2175:Immortal Beloved
2038:
2021:Immortal Beloved
1964:
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1912:Gundula Janowitz
1900:
1834:
1800:: Scores at the
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839:20 November 1805
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722:touches deeply.
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2255:
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2111:Beethoven House
2089:
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1973:
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1884:Wayback Machine
1868:Wayback Machine
1832:
1792:
1764:
1762:Further reading
1754:
1740:Klemperer, Otto
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1002:Sebastian Mayer
984:Joseph Frühwald
938:Carl Weinmüller
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1790:External links
1788:
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1758:
1753:978-0907689133
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1723:
1700:
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1680:Holden, Amanda
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1574:
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1526:
1503:
1491:
1489:, p. 183.
1479:
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1164:("Come, Hope")
1162:Komm, Hoffnung
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867:Michael Umlauf
859:Premiere cast,
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850:Premiere cast,
848:
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833:
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816:
813:
777:
774:
762:demonstrations
662:on LP and CD.
656:Eleanor Steber
618:
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600:King's Theatre
565:Ninth Symphony
561:Michael Umlauf
557:Franz Schubert
491:Pierre Gaveaux
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1784:0-19-869164-5
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1768:Warrack, John
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1709:Stanley Sadie
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1668:Cairns, David
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1586:Martin Walser
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1225:O welche Lust
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854:29 March 1806
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374:November 2016
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335: –
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329:Find sources:
323:
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307:This section
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284:O welche Lust
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1922:(Jacquino);
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1815:
1809:
1796:
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1684:
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1651:Johnson 1998
1646:
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1635:Johnson 1998
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1487:Johnson 1998
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1447:Johnson 1998
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1112:, 1920)
1084:
1080:
1065:
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991:
979:Joseph Caché
968:
946:his daughter
945:
944:Marzelline,
933:Joseph Rothe
921:
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809:David Cairns
802:
793:
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758:East Germany
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699:, conductor
694:
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674:Robert Heger
665:
664:
648:Rose Bampton
631:
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604:Park Theatre
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475:Vestas Feuer
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445:Vestas Feuer
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441:Vestas Feuer
440:
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432:
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421:Vestas Feuer
419:
407:
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347:
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328:
316:Please help
311:verification
308:
283:
273:
268:
264:
220:
211:
210:
161:
160:
159:
68:
36:
2387:1805 operas
2198:Other films
2194:(2006 film)
2186:(2003 film)
2178:(1994 film)
2170:(1949 film)
2131:Mexico City
1914:(Leonore),
1839:s libretto)
1835:(origin of
1833:(in French)
1620:Opera Guide
1608:Cairns 2001
1596:(in German)
1499:Cairns 2001
1477:, p. .
1403:discography
1263:Irma Beilke
961:Anna Bondra
914:Anna Milder
885:Carl Demmer
873:Florestan,
865:Conductor:
863:23 May 1814
682:Thomas Mann
619:Florestan (
528:adapted by
499:(1798) and
2381:Categories
2147:Depictions
1994:Birthplace
1908:Lucia Popp
1818:52 (2013).
1409:References
1394:Recordings
1191:media help
1133:Quartet).
1077:as Leonore
1030:Ignaz Saal
875:a prisoner
831:Voice type
754:Semperoper
660:RCA Victor
652:Jan Peerce
344:newspapers
137:1814-05-23
129:1806-03-29
121:1805-11-20
81:Librettist
2234:(brother)
2228:(brother)
2094:Memorials
1918:(Rocco),
1670:(2001). "
1464:p. 89 ff.
1428:"Fidelio"
1376:trombones
1356:clarinets
967:Jaquino,
901:Leonore,
842:Conductor
776:Overtures
739:Karl Böhm
582:'s opera
333:"Fidelio"
2344:Category
2326:Three Bs
2252:(nephew)
2222:(mother)
2216:(father)
1880:Archived
1864:Archived
1837:Fidelio'
1591:Die Zeit
1518:Archived
1372:trumpets
1360:bassoons
1243:name day
1062:Synopsis
1048:Unknown
1020:baritone
997:baritone
924:(guard)
905:Fidelio
782:overture
526:libretto
237:libretto
152:, Vienna
113:Premiere
105:Language
2260:Related
2244:Johanna
1904:YouTube
1875:Fidelio
1860:Fidelio
1810:Fidelio
1797:Fidelio
1711:(ed.).
1705:Fidelio
1682:(ed.).
1678:)". In
1661:Sources
1639:Leonore
1513:Fidelio
1401:Fidelio
1384:strings
1380:timpani
1344:piccolo
1091:Seville
951:soprano
920:Rocco,
909:soprano
798:E major
794:Fidelio
790:C major
786:Fidelio
752:at the
750:Fidelio
735:Fidelio
720:Fidelio
715:Fidelio
710:Fidelio
690:Himmler
686:Fidelio
666:Fidelio
632:Fidelio
573:Fidelio
553:Fidelio
519:Fidelio
515:Leonore
511:Leonore
506:Leonora
487:Fidelio
471:Fidelio
449:Fidelio
437:Fidelio
426:Fidelio
408:Fidelio
401:Fidelio
397:Fidelio
358:scholar
276:rescues
269:Leonore
265:Fidelio
202:German:
162:Fidelio
135: (
127: (
119: (
69:Fidelio
44:Fidelio
2397:Operas
2357:Portal
2238:Ludwig
2232:Johann
2226:Kaspar
2214:Johann
2207:Family
2183:Eroica
2167:Eroica
2121:Berlin
2004:Mozart
1930:(1978)
1782:
1750:
1732:
1721:
1707:". In
1692:
1382:, and
1348:flutes
922:gaoler
697:Nazism
360:
353:
346:
339:
331:
235:. The
108:German
2371:Opera
2220:Maria
2044:Music
2011:Death
1414:Notes
1368:horns
1352:oboes
1253:Act 2
1200:march
1131:Canon
1110:Halle
1100:Act 1
1040:tenor
974:tenor
880:tenor
827:Role
815:Roles
580:Gluck
460:putto
365:JSTOR
351:books
229:opera
52:Opera
2250:Karl
2126:Bonn
1987:Life
1847:IMDb
1780:ISBN
1748:ISBN
1730:ISBN
1719:ISBN
1690:ISBN
1374:, 2
1370:, 2
1366:, 4
1358:, 2
1354:, 2
1350:, 2
1346:, 2
1044:bass
1042:and
928:bass
784:for
654:and
634:was
447:for
337:news
2078:WoO
1902:on
1891:'s
1845:on
1814:,"
1584:by
1215:and
743:ORF
688:in
640:NBC
503:'s
493:'s
320:by
223:),
54:by
2383::
2284:/
1926:,
1906:,
1778:.
1627:^
1588:,
1568:,
1430:.
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1362:,
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650:,
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225:Op
200:;
193:oʊ
184:eɪ
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1949:v
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181:d
178:ˈ
175:ɪ
172:f
169:/
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