There were, of course, many Beethoven 250 events planned for 2020 and few of them happened. One, planned for Vienna, was to stage all three versions of Beethoven’s only opera; Leonore (1805), Fidelio (1806) and the final form that modern audiences mostly know, Fidelio (1814). As far as I know the only one that went ahead was a production of the 1806 version at the Theater an der Wien that was filmed in an empty house and has just got a release on Blu-ray and DVD. Now, it happens that the 1805 Leonore was staged and recorded by Lafayette Opera in New York the year before. So we can look at all three versions and the evolution of the piece despite the Vienna cancellations. For those who want more details on the New York production, it was reviewed by Patrick Dillon in the summer 2020 edition of Opera Canada and there will be a review, by myself, of the recording in a future edition (probably soon).
No, not the opera by Prokofiev but Robert Carsen’s rather brilliant take on Mozart’s Idomeneo recorded last year at the Teatro Real in Madrid*. It’s a contemporary Mediterranean setting. Crete is a completely militarised society. Everyone is uniformed and carries weapons. The Trojans are refugees living in a camp with all the pathetic accoutrements of refugee camp life. Idomeneo and Elettra stand for the traditional “Make Crete Great Again” kind of nationalism while Idamante and Ilia look forward to a world where “Us” and “Them” dissolve in our common humanity. Carsen, Neptune, this writer and, I think, listening closely to the music, Mozart side with the young lovers.
Bellini’s I Puritani is one of those 19th century operas that dishes out a version of 16th or 17th century English history that’s all but unrecognisable to anyone with any actual knowledge of the subject. In this case we are in Cromwell’s Commonwealth and the nasty Puritans want to off anyone with a Stuart connection including the widowed queen Henrietta. Various implausibly named Puritan colonels (everyone in the New Model apparently holds that rank) feature as well as a Royalist earl who is, of course, in love with the Roundhead commander’s daughter. Immediately prior to marrying her though he decides to save Henrietta from execution and escapes with her thus triggering the obligatory mad scene, which is probably the main reason for watching this thing at all. Finally Arturo (the earl) returns, is captured and, inevitably, sentenced to death. As he is being led to the block Cromwell’s messenger arrives with the second most improbable reprieve in all of opera. The Stuarts have been defeated and everyone is pardoned. A happy ending with fortissimo soprano high notes ensues.