781:. 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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1129:—"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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1223:—"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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1319:—"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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271:. 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" (
1200:—"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 (
1114:—"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 (
525:, 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
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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
1234:, 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
275:—"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.
1293:—"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
577:(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.
498:(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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789:. 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
1196:—"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 (
1315:—"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 (
1950:
777:, 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
2309:
1269:—"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 (
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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
1968:
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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 (
466:, was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. Although Beethoven used the title
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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
413:; 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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1285:—"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.
428:, 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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627:'s first complete opera performance given in the United States since 1915 and the first to be broadcast on radio, over the
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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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1110:—"Now, darling, now we are alone"). Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife (
560:, 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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1216:—"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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474:("Leonore, or The Triumph of Married Love"), the 1805 performances were billed as
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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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1208:—"Monster! Where are you off to so fast?" and "Come, hope, let the last star").
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was the first opera performed in Berlin after the end of World War II, with the
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1133:—"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",
1416:
1301:—"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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313: 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 (
681:'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.
1932:
407:. Beethoven was to set a new libretto by Schikaneder, entitled
2066:
730:. 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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1138:
240:
on 20 November 1805. The following year, Beethoven's friend
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172:
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remarked: "What amount of apathy was needed to listen to
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163:
1733:
Klemperer on Music: Shavings from a Musician's Workbench
1308:
Here, the overture "Leonore No. 3" is sometimes played.
567:
Although critics have noted the similarity in plot with
1277:—"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
60:, playbill of the third and finalized premiere at the
2343:
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at the theatre's insistence, to avoid confusion with
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1555:"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.
399:
dates from 1803, when the librettist and impresario
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169:
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2195:
2149:
Beethoven with the Manuscript of the Missa Solemnis
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1975:
631:network, in December 1944. Toscanini conducted the
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101:
93:
69:
30:
1273:—"How cold it is in this underground chamber" and
1118:—"A wondrous feeling fills me", also known as the
1463:
1271:Wie kalt ist es in diesem unterirdischen Gewölbe!
1078:Place: A Spanish state prison, a few miles from
279:Composition and 19th century performance history
1451:, edited by James Knowles, Volume XXIX, 1891,
769:Beethoven struggled to produce an appropriate
2310:Ira F. Brilliant Center for Beethoven Studies
1944:
612:) and Leonore (Karina Kutz); September 1945,
591:, and in New York on 9 September 1839 at the
470:Leonore, oder Der Triumph der ehelichen Liebe
203:Leonore, oder Der Triumph der ehelichen Liebe
8:
892:his wife, disguised as a man under the alias
761:signalled the end of East Germany's regime.
502:. The current convention is to use the name
468:
201:
106:Original premiere 20 November 1805
31:
1561:, 13 November 2010, accessed 17 April 2011.
513:The first version, with a three-act German
1951:
1937:
1929:
1544:, Princeton University Press, 2002, p. 47.
1531:, Cambridge University Press, 2012, p. 45.
536:. This version was first performed at the
114:; reworked version 29 March 1806
51:
27:
1791:International Music Score Library Project
373:Learn how and when to remove this message
122:; finalized version 23 May 1814
1923:Synopsis, details, libretto, sound clips
1619:
1617:
1528:The Cambridge Companion to Opera Studies
1449:The Nineteenth Century: a Monthly Review
1108:Jetzt, Schätzchen, jetzt sind wir allein
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1639:
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1435:
1408:
1250:Rocco (Wilhelm Schirp) and Marzelline (
248:, a final version was performed at the
210:Leonore, or The Triumph of Marital Love
1596:
1487:
1206:Komm, Hoffnung, lass den letzten Stern
1177:
540:on 23 May 1814, again under the title
447:The theatrical mask contemplated by a
267:her husband Florestan from death in a
1447:"The New Orfeo: an Appreciation", in
193:
7:
1866:at the Opera Company of Philadelphia
1275:Nur hurtig fort, nur frisch gegraben
311:adding citations to reliable sources
256:, and the others are referred to as
1882:2018 cinematic production 'Fidelio'
1317:Wohlan, so helfet! Helft den Armen!
1291:Er sterbe! Doch er soll erst wissen
665:at the only undamaged theatre, the
556:. The role of Pizarro was taken by
2300:British première of Symphony No. 9
1706:. Vol. 2. London: Macmillan.
669:, in September 1945. At the time,
510:only for the final 1814 revision.
236:. The opera premiered at Vienna's
16:Only opera by Ludwig van Beethoven
14:
2416:Overtures by Ludwig van Beethoven
1703:The New Grove Dictionary of Opera
1611:, synopsis, libretto, highlights.
1283:Euch werde Lohn in bessern Welten
1238:—"Farewell, you warm sunshine").
2353:
2328:
2327:
2261:Birthplace of Beethoven's mother
2023:
1988:Relationship with contemporaries
1661:Fidelio, oder Die eheliche Liebe
1500:"Toscanini conducts Beethoven's
1198:Jetzt, Alter, jetzt hat es Eile!
1178:Problems playing this file? See
1157:
1127:Hat man nicht auch Gold beineben
1043:Soldiers, prisoners, townspeople
599:20th-century performance history
287:
156:
1265:—"God! What darkness here" and
1236:Leb wohl, du warmes Sonnenlicht
1227:—"O, father, father, hurry!").
1202:Abscheulicher! Wo eilst du hin?
1112:O wär ich schon mit dir vereint
298:needs additional citations for
2391:Operas by Ludwig van Beethoven
1761:The Oxford Dictionary of Opera
1731:; Anderson, Martin J. (1986).
845:Conductor: Ignaz von Seyfried
692:remarked in Salzburg in 1948:
661:staging it under the baton of
1:
1464:Klemperer & Anderson 1986
1323:—"Who has got a good wife").
451:on the Beethoven monument by
1677:. New York: Penguin Putnam.
1331:The orchestra consists of 1
1321:Wer ein holdes Weib errungen
1267:In des Lebens Frühlingstagen
485:Léonore, ou L'amour conjugal
420:The time Beethoven spent on
2015:Concert of 22 December 1808
1847:Description of Beethoven's
1674:The New Penguin Opera Guide
1299:Es schlägt der Rache Stunde
228:was originally prepared by
137:, Vienna. Final version at
2432:
2125:New York and San Francisco
1859:on all-about-beethoven.com
1843:, Brooklyn Repertory Opera
1801:: A structuralist approach
1692:Johnson, Douglas (1998). "
1626:, p. 183: "The title
534:Georg Friedrich Treitschke
246:Georg Friedrich Treitschke
87:Georg Friedrich Treitschke
18:
2406:Operas adapted into films
2323:
2295:Beethoven Quartet Society
2040:Relationship with C minor
2021:
1966:
1813:, from opera.stanford.edu
1422:Dictionary.com Unabridged
1041:
749:) coincided with violent
50:
39:
1759:, and Ewan West (1992).
1665:Fidelio, or Married Love
1523:Conchological Miscellany
1509:27 December 2013 at the
1263:Gott! Welch Dunkel hier!
1225:Ach, Vater, Vater, eilt!
1221:Nun sprecht, wie ging's?
1194:Ha, welch ein Augenblick
792:While some believe that
718:On 5 November 1955, the
21:Fidelio (disambiguation)
2005:Heiligenstadt Testament
1805:College Music Symposium
1795:Ilias Chrissochoidis, "
1765:Oxford University Press
1763:. Oxford and New York:
1187:All but Rocco leave. A
1084:Time: Late 17th century
1014:Johann Michael Weinkopf
759:fall of the Berlin Wall
417:came to his attention.
133:First two premieres at
73:Originally prepared by
2381:German-language operas
2290:Beethoven Project Trio
1888:"Mir ist so wunderbar"
1513:, details and reviews.
1258:
1143:
1102:
1067:
981:governor of the prison
841:Second version: 2 acts
716:
633:NBC Symphony Orchestra
617:
469:
456:
395:The distant origin of
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64:in Vienna, 23 May 1814
32:
2411:Operas set in Seville
1871:27 April 2009 at the
1249:
1142:
1096:
1062:
850:Final version: 2 acts
826:First version: 3 acts
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635:, featuring soloists
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446:
198:), originally titled
81:. Later shortened by
77:, from the French of
2271:Beethoven quadrangle
2055:Compositional method
1969:List of compositions
1960:Ludwig van Beethoven
1797:Dramatic pairing in
1305:—"O unnamed joy!").
1256:Deutsche Oper Berlin
1192:Florestan murdered (
1116:Mir ist so wunderbar
1097:Act 1, prison yard (
879:Joseph August Röckel
614:Deutsche Oper Berlin
523:Jean-Nicolas Bouilly
307:improve this article
242:Stephan von Breuning
234:Jean-Nicolas Bouilly
222:Ludwig van Beethoven
83:Stephan von Breuning
79:Jean-Nicolas Bouilly
45:Ludwig van Beethoven
2396:Operas set in Spain
2266:Beethoven Peninsula
1855:28 May 2020 at the
1832:Fidelio (character)
1811:Performance history
1559:The National Herald
1540:Berthold Hoeckner,
1525:, Volume 4, p. 23;
1375:. There is also an
1303:O namenlose Freude!
1254:); September 1945,
1056:Florestan's death.
996:Johann Michael Vogl
812:
737:The first night of
722:was re-opened with
690:Wilhelm Furtwängler
667:Theater des Westens
558:Johann Michael Vogl
521:from the French of
519:Joseph Sonnleithner
453:Kaspar von Zumbusch
405:Theater an der Wien
401:Emanuel Schikaneder
238:Theater an der Wien
232:from the French of
230:Joseph Sonnleithner
220:by German composer
195:[fiˈdeːlio]
135:Theater an der Wien
75:Joseph Sonnleithner
2143:Mähler's portraits
2105:List of sculptures
2072:Biamonti Catalogue
1925:, opera-inside.com
1913:Vienna State Opera
1841:'Updated' synopsis
1583:, 20 October 1989
1259:
1144:
1131:Gut, Söhnchen, gut
1103:
1068:
958:assistant to Rocco
835:Ignaz von Seyfried
808:
720:Vienna State Opera
618:
544:. The 17-year-old
538:Kärntnertortheater
457:
250:Kärntnertortheater
216:. 72, is the only
139:Kärntnertortheater
62:Kärntnertortheater
2341:
2340:
2180:Copying Beethoven
2045:Collected edition
1917:Leonard Bernstein
1905:Manfred Jungwirth
1878:Jan Schmidt-Garre
1735:. Toccata Press.
1571:"Kurz in Dresden"
1313:Heil sei dem Tag!
1169:Alice Guszalewicz
1162:
1048:
1047:
755:Christine Mielitz
574:Orfeo ed Euridice
383:
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147:
146:
2423:
2358:
2357:
2349:
2331:
2330:
2305:Eroica Peninsula
2285:Beethoven Frieze
2275:Beethoven crater
2164:Immortal Beloved
2027:
2010:Immortal Beloved
1953:
1946:
1939:
1930:
1909:Adolf Dallapozza
1901:Gundula Janowitz
1889:
1823:
1789:: Scores at the
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1377:offstage trumpet
1164:
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1141:
828:20 November 1805
813:
811:
711:touches deeply.
625:Arturo Toscanini
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2280:Beethoven Burst
2244:
2235:(sister-in-law)
2191:
2131:
2100:Beethoven House
2078:
2028:
2019:
1971:
1962:
1957:
1887:
1873:Wayback Machine
1857:Wayback Machine
1821:
1781:
1753:
1751:Further reading
1743:
1729:Klemperer, Otto
1727:
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1327:Instrumentation
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991:Sebastian Mayer
973:Joseph Frühwald
927:Carl Weinmüller
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2062:Works catalogs
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1899:(Marzelline),
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1793:
1780:
1779:External links
1777:
1776:
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1752:
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1748:
1747:
1742:978-0907689133
1741:
1725:
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1689:
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1669:Holden, Amanda
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1515:
1492:
1480:
1478:, p. 183.
1468:
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1425:(Online). n.d.
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1153:("Come, Hope")
1151:Komm, Hoffnung
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848:Premiere cast,
846:
839:Premiere cast,
837:
824:Premiere cast,
822:
817:
805:
802:
766:
763:
751:demonstrations
651:on LP and CD.
645:Eleanor Steber
607:
600:
597:
589:King's Theatre
554:Ninth Symphony
550:Michael Umlauf
546:Franz Schubert
480:Pierre Gaveaux
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2401:Rescue operas
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2050:Musical style
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1773:0-19-869164-5
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1757:Warrack, John
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1698:Stanley Sadie
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1684:0-14-029312-4
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1575:Martin Walser
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1214:O welche Lust
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843:29 March 1806
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363:November 2016
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324: –
323:
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318:Find sources:
312:
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296:This section
294:
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278:
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273:O welche Lust
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1911:(Jacquino);
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1640:Johnson 1998
1635:
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1624:Johnson 1998
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1476:Johnson 1998
1471:
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1436:Johnson 1998
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1101:, 1920)
1073:
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980:
968:Joseph Caché
957:
935:his daughter
934:
933:Marzelline,
922:Joseph Rothe
910:
891:
863:
798:David Cairns
791:
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747:East Germany
738:
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688:, conductor
683:
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663:Robert Heger
654:
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637:Rose Bampton
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593:Park Theatre
586:
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464:Vestas Feuer
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434:Vestas Feuer
433:
430:Vestas Feuer
429:
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421:
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410:Vestas Feuer
408:
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317:
305:Please help
300:verification
297:
272:
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257:
253:
209:
200:
199:
150:
149:
148:
57:
25:
2376:1805 operas
2187:Other films
2183:(2006 film)
2175:(2003 film)
2167:(1994 film)
2159:(1949 film)
2120:Mexico City
1903:(Leonore),
1828:s libretto)
1824:(origin of
1822:(in French)
1609:Opera Guide
1597:Cairns 2001
1585:(in German)
1488:Cairns 2001
1466:, p. .
1392:discography
1252:Irma Beilke
950:Anna Bondra
903:Anna Milder
874:Carl Demmer
862:Florestan,
854:Conductor:
852:23 May 1814
671:Thomas Mann
608:Florestan (
517:adapted by
488:(1798) and
2370:Categories
2136:Depictions
1983:Birthplace
1897:Lucia Popp
1807:52 (2013).
1398:References
1383:Recordings
1180:media help
1122:Quartet).
1066:as Leonore
1019:Ignaz Saal
864:a prisoner
820:Voice type
743:Semperoper
649:RCA Victor
641:Jan Peerce
333:newspapers
126:1814-05-23
118:1806-03-29
110:1805-11-20
70:Librettist
2223:(brother)
2217:(brother)
2083:Memorials
1907:(Rocco),
1659:(2001). "
1453:p. 89 ff.
1417:"Fidelio"
1365:trombones
1345:clarinets
956:Jaquino,
890:Leonore,
831:Conductor
765:Overtures
728:Karl Böhm
571:'s opera
322:"Fidelio"
2333:Category
2315:Three Bs
2241:(nephew)
2211:(mother)
2205:(father)
1869:Archived
1853:Archived
1826:Fidelio'
1580:Die Zeit
1507:Archived
1361:trumpets
1349:bassoons
1232:name day
1051:Synopsis
1037:Unknown
1009:baritone
986:baritone
913:(guard)
894:Fidelio
771:overture
515:libretto
226:libretto
141:, Vienna
102:Premiere
94:Language
2249:Related
2233:Johanna
1893:YouTube
1864:Fidelio
1849:Fidelio
1799:Fidelio
1786:Fidelio
1700:(ed.).
1694:Fidelio
1671:(ed.).
1667:)". In
1650:Sources
1628:Leonore
1502:Fidelio
1390:Fidelio
1373:strings
1369:timpani
1333:piccolo
1080:Seville
940:soprano
909:Rocco,
898:soprano
787:E major
783:Fidelio
779:C major
775:Fidelio
741:at the
739:Fidelio
724:Fidelio
709:Fidelio
704:Fidelio
699:Fidelio
679:Himmler
675:Fidelio
655:Fidelio
621:Fidelio
562:Fidelio
542:Fidelio
508:Fidelio
504:Leonore
500:Leonore
495:Leonora
476:Fidelio
460:Fidelio
438:Fidelio
426:Fidelio
415:Fidelio
397:Fidelio
390:Fidelio
386:Fidelio
347:scholar
265:rescues
258:Leonore
254:Fidelio
191:German:
151:Fidelio
124: (
116: (
108: (
58:Fidelio
33:Fidelio
2386:Operas
2346:Portal
2227:Ludwig
2221:Johann
2215:Kaspar
2203:Johann
2196:Family
2172:Eroica
2156:Eroica
2110:Berlin
1993:Mozart
1919:(1978)
1771:
1739:
1721:
1710:
1696:". In
1681:
1371:, and
1337:flutes
911:gaoler
686:Nazism
349:
342:
335:
328:
320:
224:. The
97:German
2360:Opera
2209:Maria
2033:Music
2000:Death
1403:Notes
1357:horns
1341:oboes
1242:Act 2
1189:march
1120:Canon
1099:Halle
1089:Act 1
1029:tenor
963:tenor
869:tenor
816:Role
804:Roles
569:Gluck
449:putto
354:JSTOR
340:books
218:opera
41:Opera
2239:Karl
2115:Bonn
1976:Life
1836:IMDb
1769:ISBN
1737:ISBN
1719:ISBN
1708:ISBN
1679:ISBN
1363:, 2
1359:, 2
1355:, 4
1347:, 2
1343:, 2
1339:, 2
1335:, 2
1033:bass
1031:and
917:bass
773:for
643:and
623:was
436:for
326:news
2067:WoO
1891:on
1880:'s
1834:on
1803:,"
1573:by
1204:and
732:ORF
677:in
629:NBC
492:'s
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309:by
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