Beethoven, Fidelio : Soloists, chorus and orchestra of Finnish National Opera, Helsinki, 20.09.2006 (BK)

 

 

Music Director: Ralf Weikert
Director: Siegwulf Turek
Revival Director: Rauno Marttinen

Costumes, Sets and Lighting: Siegwulf Turek

 

Florestan: Aki Alamikkotervo
Leonore: Anna-Katharina Behnke
Rocco: Matti Salminen
Marzelline: Anna-Kristiina Kaappola
Jaquino: Petrus Schroderus
Don Pizarro: Jouni Kokora
Don Fernando: Ilkka Vihavainen
Two Prisoners: Kai Pitkänen, Robert McLoud

 

 

 

Finnish 'King of Basses' plummets to death on stage! Fortunately not, but there was a nasty moment when Matti Salminen lost his footing for a split-second high up on Siegwulf Turek's precipitous Act II staircase and the entire audience caught its breath.

 

Dating from 1997, this production is a no-nonsense, straightforward and wholly unfussy representation of Beethoven's only opera. It's nicely lit and costumed, has decently realistic scenery and generally wears very well. Frankly, it makes a refreshing change from today's obsessive insistence on reading spurious meaning into perfectly understandable plots, even when they are as romantic and unlikely as this one surely is.

 

Of the original cast, only Salminen and Anna-Kristiina Kaappola remain but generally speaking, the newcomers are fine, responding sensitively to Ralf Weikert's thoroughly musical lead and to Revival Director Rauno Marttinen's faithful re-creation of the original production. Jouni Kokora made a commanding and menacing Pizarro - he's a tall and imposing figure with a big well rounded voice - and Ilkka Vihavainen was a noble and authoritative Fernando. Petrus Schroderus made workmanlike tenor contributions to the ensembles and both Ms Kaappola and Mr. Salminen were wholly professional and engaging in roles that each of them must be able to sing beautifully in their sleep.

 

The major flaws in the performance were the casting of Austrian soprano Anna Katharina Behnke as Leonora  / Fidelio and Aki Alamikkotervo as Florestan neither of whom were ideally suited to their roles. Ms Behnke coped quite adequately, singing strongly and musically until challenged a step too far by 'O, namenlose Freude!' During this, both she and her Florestan sounded anything but rapturously joyful and were obviously in considerable difficulty; it was clear that Mr. Alamikkotervo particularly was grievously miscast.

 

The FNO chorus was as powerful as ever, maintaining its well-deserved place as one of the company's many genuine and long-lasting treasures.

 

 

 

Bill Kenny

 

Picture © Heikki Tuuli