By Julie Wu
“You’re rebuffing Jaquino now, but eventually you’ll get together,” the conductor told me. “I mean, we assume so.”
We stood at a grand piano overlooking a breathtaking vista of Manhattan to rehearse the opening duet of Beethoven’s only opera, the rarely performed Fidelio. The next day, we would be doing our informal, private run-through with full cast, orchestra, and chorus. The conductor, pianist, and the tenor playing Jaquino are all pros, while I am a former wannabe who gets into shape once every year or two especially to sing with this group, affectionately termed the Occasional Opera Society. I read the libretto, I admit, on the bus from Boston.
The opera is set in a political prison. Marzelline, daughter of the prison warden, fondly rejects Jaquino’s advances because she is in love with the heroic new prison worker, Fidelio. Marzelline does not realize that Fidelio is actually a woman named Leonore who has disguised herself to save her imprisoned husband. The bulk of Act I in this two-Act opera displays this complicated situation, and describes the upcoming wedding between the supposedly love-lorn Marzelline and Fidelio.
By the end of Act II, Leonore not only blows her cover and throws herself in front of a dagger to save her husband’s life, but also indirectly gets all the other prisoners sprung loose. Soloists, chorus, and orchestra join together in a rousing celebration of Leonore’s wifely devotion. As for Marzelline, she is allotted two-and-a-half measures to react to the news that the love of her life is actually a married, cross-dressing woman: “O weh’ mir! Was vernimmt mein Ohr!” And then she happily joins in with the chorus of praise for wifely devotion. Joining the chorus as well is Jaquino, at this point apparently devoid of any personal opinion.
“This should get resolved,” I insisted at the rehearsal. “They need to get together in the end.” [Read more...]