Beethoven, Fidelio:
(Concert Performance) Auckland Philharmonia,
Jonas Alber (conductor) Auckland Town Hall, New
Zealand 10.8 2007 (MS)
Concert performances of opera are becoming a
regular part of the Auckland Philharmonia's annual
seasons and this year they tackled Beethoven's
only opera, Fidelio. The choice was no
doubt made because of the availability of its two
leading artists: New Zealand tenor Simon O'Neill
has just sung the role of Florestan at Covent
Garden to widespread critical acclaim, while Erika
Sunnegårdh leapt to prominence when she made her
Met debut as Leonore two years ago standing in for
an indisposed Karita Mattila at extremely short
notice. Both singers are on the threshold of big
careers and the chance to hear them here in
Auckland was a mouth watering one.
However, Fidelio is not the easiest of
operas to present in concert form. The
singspiel nature of the work means that there
is a large amount of dialogue, particularly in the
first act, which was unlikely to translate very
well on to the concert platform. The solution here
was to cut most of the dialogue and replace it
with a narrator, who acted as Leonore's alter ego,
describing her plight as the opera progressed.
Despite Beryl Te Wiata's eloquent narration, the
first act felt more like a presentation of
highlights than a full performance, although to be
fair it is unlikely that the original dialogue
would have succeeded any better. Overall the
second act proved much more successful. With very
little dialogue or narration to get in the way
Beethoven's glorious music was allowed to tell the
story, from the grim dungeon scene to the to the
jubilant choral finale that brings the opera to a
resounding conclusion.
Erika Sunnegårdh was a radiant Leonore from
beginning to end. While her voice is not
particularly large she uses it with extreme
intelligence throughout the range, both musically
and dramatically. Beethoven requires the singer to
use all her registers to portray, initially, the
boy Fidelio, and then to project ecstatic
jubilation as the noblewoman Leonore. Sunnegårdh
found exceptional depth of emotion in her aria of
hope and resolve, 'Komm Hoffnung,'
contrasting brilliantly with the vocal fireworks
at the moment of reunion with her husband. If
there was a weakness it was that the performance
seemed a little too controlled. More freedom of
voice and expression would have added icing to an
already very delicious cake.
Simon O'Neill is a tenor who has Wagner very much
in his sights, with performances of Siegmund at
both
Covent Garden
and the Met over the next few months. His
high-placed, bright voice certainly commands
attention and in full flight has a huge capacity
to excite. However, he did not seem entirely
comfortable here as Florestan. His opening
outburst was a little tentative resulting in a
careful performance throughout. Nevertheless there
was still plenty of passion and ringing top notes
and he combined well with Sunnegårdh in their ode
to freedom.
Whilst the two principal protagonists dominate the
opera, it should not be forgotten that this is
very much an ensemble piece and it was
particularly good to see such high quality casting
in the minor roles. Madeleine Pierard, a young
New Zealand singer, stood out as Marzelline with
her bright soprano voice leading the first act
quartet most beautifully. Adrian Strooper was a
suitably youthful Jacquino, with an eloquent tenor
voice to match. Andrew Greenan, after a somewhat
unsettled start, warmed into the likeable role of
Rocco, while Peteris Eglitis spat volumes of
hatred as the villain of the piece, Don Pizzaro.
Malcolm Ede rounded out the cast as the benevolent
Don Fernando.
Jonas Alber conducted the Auckland Philharmonia in
a performance that drew every nuance from the
score, from naïve domesticity in the first act, to
the depths of despair in the middle of the opera,
to the rousing chorale at the end. The Chapman
Tripp Chorus of the NBR New Zealand Opera
contributed strongly throughout, even though the
men sounded rather over nourished in the dungeon
scene!
Beethoven's work operates at many levels. The
human elements of the story give way to the moral
message that celebrates the ideals of freedom,
courage and the brotherhood of man. As presented
here in the hands of a wonderful team of singers
and musicians his music was exactly the sort of
uplifting experience it should be.
Michael Sinclair
Re-printed with permission. Michael Sinclair is
owner and publisher of
The Opera Critic web site.
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