The Well-Tempered Ear

Classical music: Is Beethoven still relevant and our political contemporary with his opera “Fidelio”?

August 10, 2014
3 Comments

By Jacob Stockinger

You might recall that Ludwig van Beethoven (below) composed only one opera.

It is “Fidelio,” and it reflected his Enlightenment-era political ideas about equality and democracy –- despite the composer’s own financial reliance on patronage by aristocrats and royals.

Beethoven big

And you may recall that the Madison Opera has slated “Fidelio” for a production this coming season in Overture Hall on Friday night, Nov. 21, and Sunday afternoon, Nov. 23.

The production comes during a time of great political unrest and perhaps upheaval at home, with crucial national and state elections, and especially overseas and in foreign affairs with Iraq, Syria, Ukraine, Africa’s Ebola strife and many other hot spots showing no sign of letting up.

So will the local production of “Fidelio” be more or less a traditional one? Or will the Madison Opera’s general director Kathryn Smith and its artistic director, John DeMain, who is also the music director of the Madison Symphony Orchestra, have other ideas about how to tweak the opera and recast it for modern or contemporary relevance?

It will be interesting to see, although The Ear understands that the production will be traditional.

Here is a link to the Madison Opera’s website:

http://madisonopera.org/performances-2014-2015/

Currently, the acclaimed Santa Fe Opera is staging a controversial new version of “Fidelio”(below), created by director Stephen Wadsworth, that takes place in the Nazi death camp Bergen-Belsen. Sounds very Peter Sellars-like. (You can hear the moving music from the Prisoners’ Chorus at the bottom in a YouTube video.)

FIDELIO in Bergen-Belsen at Santa Fe

Corinna da Fonseca-Wollheim, of The New York Times, did not like it and, in fact, said it offended her because it belittled the Holocaust. She also complained that the roles in the actual text did not match the roles that the new staging created. She saw the production as too inconsistent.

Her larger complaint seems to reflect the notion that after the Holocaust, writing poetry and creating art is impossible, that beauty has been ruined.

It is an ambitious, lofty and tempting thought, but one that is clearly not true. In fact, it is downright wrong. Great suffering and art are old pals. Sometimes art takes you away from suffering; sometimes it takes you deeper into it. It depends on the work and on the performers. But we need both.

Anyway, here is the review from the Times as well as another one with a different take. Read them for yourself. Then decide and make up your own mind. It sure sounds like a concept worth pursuing, even if flawed, to The Ear.

http://www.nytimes.com/2014/08/04/arts/music/santa-fe-opera-sets-fidelio-in-a-concentration-camp.html?_r=0

Critic Heidi Waleson, of The Wall Street Journal, on the other hand, praised the production:

http://online.wsj.com/articles/opera-review-santa-fe-opera-1407191039

Be sure to tell The Ear, and other readers, including members of the Madison Opera, if you have ever seen an updated version of “Fidelio” and what you thought of it.

Where do you think “Fidelio could be recast to best advantage The Holocaust? The Spanish Inquisition? The Soviet Gulag and Great Terror? The Killing Fields of Cambodia? The Rwandan genocide? Abu Graib prison in Iraq? A CIA black site torture prison in Egypt? The Chinese Cultural Revolution?

Or, given the fact that the United States has the highest incarceration rate in the world, how about a Supermax prison in Wisconsin?

You get the idea.

Go wild with your imagination, and then write in.

The Ear wants to hear.

 


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