Dutch National Opera tickets 19 June 2024 - Fidelio | GoComGo.com

Fidelio

Dutch National Opera, Amsterdam, Netherlands
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7:30 PM
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US$ 142

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Amsterdam, Netherlands
Starts at: 19:30
Acts: 2
Sung in: German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Choir: Chorus of Dutch National Opera
Tenor: Eric Cutler (Florestan)
Baritone: Frederik Bergman (Don Fernando)
Soprano: Jacquelyn Wagner (Leonore)
Creators
Composer: Ludwig van Beethoven
Director: Andriy Zholdak
Librettist: Georg Friedrich Treitschke
Librettist: Jean-Nicolas Bouilly
Librettist: Joseph Sonnleithner
Overview

Liberation opera, revolutionary artwork, an ode to fidelity in love and utopian drama – Fidelio, Beethoven’s only opera, is all of these things. The numerous characterisations and interpretations add an aura of mystery to the opera but demonstrate above all that it is a unique work of musical  theatre that expresses the hope for a humane future with justice and liberty for all.

‘Fidelio’ is Leonore. Disguised as a man, she adopts a new name and embarks on a mission to free her lover Florestan from the depths of Pizzaro’s dark dungeons. His tyrannical violence, abuse of power and barbaric behaviour make him one of the most despicable characters in opera history. Indeed, Fidelio’s struggle is a fight to the death. But love brings hope against this backdrop of a corrupt world.

Inspired by a true story from the time of the French Revolution, Beethoven wrote a masterpiece whose characters rise above the banal. The symphonic, almost religious nature of his music adds depth to a story in which powerful emotions and big ideas meet.

The stage direction is in the hands of the Ukrainian director Andriy Zholdak. His visual imagery, replete with symbols, is reminiscent of great film directors such as Andrei Tarkovsky and Ingmar Bergman. Using a distinctive style, Zholdak explores the deeper layers of the universal human drama of Fidelio.

Led by the renowned Colombian-Austrian conductor Andrés Orozco-Estrada, the Royal Concertgebouw Orchestra will certainly present a gripping reading of Beethoven’s only opera. The dramatically and vocally versatile role of Leonore is performed by the radiant soprano Jacquelyn Wagner. In the role of her lover, the revolutionary Florestan, we hear the internationally acclaimed heldentenor Eric Cutler.

Coproduction with Grand Théâtre de  Genève
Part of the Holland Festival

History
Premiere of this production: 20 November 1805, Theater an der Wien, Vienna

Fidelio (originally titled Leonore, oder Der Triumph der ehelichen Liebe; English: Leonore, or The Triumph of Marital Love) is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805.

Synopsis

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 Florestan's death.

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 Fidelio, she earns the favor of her employer, Rocco, and also the affections of his daughter Marzelline, much to Jaquino's chagrin.

On orders, Rocco has been giving the imprisoned Florestan diminishing rations until he is nearly starved to death.

Place: A Spanish state prison, a few miles from Seville
Time: Late 18th century
Act 1

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 (Jetzt, Schätzchen, jetzt sind wir allein—"Now, darling, now we are alone"). Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife (O wär ich schon mit dir vereint—"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 (Mir ist so wunderbar—"A wondrous feeling fills me", also known as the Canon Quartet).

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. (Hat man nicht auch Gold beineben—"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 Leonore away from such a terrible sight, but Leonore claims courage sufficient to cope with it. Rocco and Leonore sing of courage (Gut, Söhnchen, gut—"All right, sonny, all right"), and Marzelline joins in their acclamations.

All but Rocco leave. A march 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 Florestan murdered (Ha, welch ein Augenblick—"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 (Jetzt, Alter, jetzt hat es Eile!—"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 (Abscheulicher! Wo eilst du hin? and Komm, Hoffnung, lass den letzten Stern—"Monster! Where are you off to so fast?" and "Come, hope, let the last star").

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 free. The prisoners, ecstatic at their temporary freedom, sing joyfully (O welche Lust—"O what a joy"), but remembering that they might be caught by the prison's governor Pizarro, are soon quiet.

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 (Nun sprecht, wie ging's?—"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 (Ach, Vater, Vater, eilt!—"O, father, father, hurry!").

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 name day, 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. (Leb wohl, du warmes Sonnenlicht—"Farewell, you warm sunshine").

Act 2

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 (Gott! Welch Dunkel hier!—"God! What darkness here" and In des Lebens Frühlingstagen—"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 (Wie kalt ist es in diesem unterirdischen Gewölbe!—"How cold it is in this underground chamber" and Nur hurtig fort, nur frisch gegraben—"Come get to work and dig", the "Gravedigging Duet").

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 recognize Fidelio, his wife Leonore in disguise, but tells Fidelio that there will be reward for the good deed in Heaven (Euch werde Lohn in bessern Welten—"You shall be rewarded in better worlds"). Fidelio further begs Rocco to be allowed to give Florestan a crust of bread, and Rocco consents.

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 (Er sterbe! Doch er soll erst wissen—"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.

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 will have revenge, while Rocco expresses his fear of what is to come (Es schlägt der Rache Stunde—"Revenge's bell tolls"). Together, Florestan and Leonore sing a love duet (O namenlose Freude!—"O unnamed joy!").

Here, the overture "Leonore No. 3" is sometimes played.

The prisoners and townsfolk sing to the day and hour of justice which has come (Heil sei dem Tag!—"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 (Wohlan, so helfet! Helft den Armen!—"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 (Wer ein holdes Weib errungen—"Who has got a good wife").

Venue Info

Dutch National Opera - Amsterdam
Location   Amstel 3

The Dutch National Opera is the largest theatre production house in the Netherlands. Situated in the heart of Amsterdam, the iconic theatre of Dutch National Opera & Ballet offers a magnificent view of the River Amstel and the famous Magere Brug (Skinny Bridge). The various spaces form an inspiring backdrop for a whole range of special events.

Dutch National Opera & Ballet is a young theatre with a long history. The plans for building a new theatre ran parallel to the plans for a new city hall. The first discussions held by the Amsterdam city council about building a new city hall and opera house go back to 1915. At that time, the plans were specifically for an opera house, since ballet was a relatively unknown art form back then.

Ideas for the site of the new city hall and opera house were continually changing, and the idea that both buildings could form a single complex only emerged much later. Sites considered for the new city hall were initially the Dam, followed by the Frederiksplein, and finally the Waterlooplein.

In 1955, the city council commissioned the firm of architects Berghoef and Vegter to draft a design for a city hall on the Waterlooplein. The draft was approved, but in 1964 the council ended the association with the architects, as the final design was nothing like the original plans they had been shown. In 1967, a competition was held for a new design, with the Viennese architect Wilhelm Holzbauer emerging as the winner. Amsterdam's financial problems, however, meant that the plans for the new city hall were put on hold for several years.

DNO has its own choir of sixty singers and technical staff of 260. DNO historically has not had its own resident orchestra, and so various orchestras of the Netherlands, including the Netherlands Philharmonic Orchestra (NPO), the Netherlands Chamber Orchestra (NKO), the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic Orchestra, the Radio Filharmonisch Orkest and the Asko/Schönberg ensemble have provided the orchestral forces for DNO productions.

DNO produces on average eleven productions per year. While most performances are in the Dutch National Opera & Ballet building, the company has also performed in the Stadsschouwburg, at the Carré Theatre, and on the Westergasfabriek industrial site in Amsterdam. For many years, the June production has been organized as part of the Holland Festival and includes the participation of the Royal Concertgebouw Orchestra. DNO has lent its productions to foreign companies, such as the Metropolitan Opera, the Brooklyn Academy of Music, the Lincoln Center Festival in New York, as well as the Adelaide Festival in Australia.

Since 1988, the French-Lebanese theatre director Pierre Audi has been the artistic director of DNO. Audi is scheduled to conclude his DNO tenure in 2018. In April 2017, DNO announced the appointment of Sophie de Lint as the company's next artistic director, effective 1 September 2018.

Hartmut Haenchen was chief conductor from 1986 to 1999, in parallel with holding the title of chief conductor of the NPO. He subsequently held the title of principal guest conductor with DNO. Subsequent chief conductors have been Edo de Waart (1999-2004) and Ingo Metzmacher (2005-2008). In March 2009, DNO announced the appointment of Marc Albrecht as the orchestra's next chief conductor, with the 2011-2012 season, for an initial contract of four years. This return to a single chief conductor at both DNO and the NPO/NKO allows for the NPO to become the principal opera orchestra for DNO. Albrecht is scheduled to stand down as chief conductor of DNO at the end of the 2019-2020 season.

Important Info
Type: Opera
City: Amsterdam, Netherlands
Starts at: 19:30
Acts: 2
Sung in: German
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