Fidelio review

Jennifer Davis encompasses the heroism of Leonore, a woman who cross-dresses in order to enter the prison where her husband is being starved to death and is on the point of being murdered. Throughout, the expressive power of her soprano triumphs in what is a world-beating realisation of Beethoven’s sometimes awkward vocal writing. Tenor Eric Cutler comes close to matching her as gaoled whistle-blower Florestan. Similarly, head prison warden Rocco’s pragmatic skill in changing sides is finely charted in Peter Rose’s immaculately vocalised interpretation.

The prison’s military governor Don Pizarro’s sense of self-preservation registers strongly in Jochen Schmeckenbecher’s performance, roughly sung though it is. Christina Gansch’s Marzelline and Michael Gibson’s Jaquino, meanwhile, create far more complex individuals than the mismatched comic-opera couple of tradition. Gansch’s Marzelline is more dynamic than usual, not only becoming aware of Leonore’s true gender early on, but also subsequently playing an active part in Pizarro’s downfall. Gibson’s increasingly sinister Jaquino even has the last visual word, suggesting that he, at least, has understood how he might profit from the moral ambivalence of the revolution and its aftermath. Both singers are vocally excellent, though Phillip Rhodes’ deus ex machina state minister Don Fernando feels somewhat less even.

The orchestra is on strong form, with conductor Alexander Soddy providing forward drive, even if his interpretation falls short of the inspirational quality required by the high points of Beethoven’s idealistic score.