I have long been of the opinion that Beethoven’s Fidelio is structurally flawed. The first and second acts are so different intone and dramatic intensity that it never seems quite to hang together. Tobias Kratzer obviously shares this view but being smarter than me finds a way to leverage it. For his production at the Royal Opera House in 2020 he takes the two acts and effectively makes the second a commentary on the first. It’s worth quoting his own words:
Like no other opera, Beethoven’s Fidelio falls into two unequal halves. Act I is a historical melodrama on freedom and love in the post-Revolutionary era. Act II is a political essay on the responsibility of the individual in the face of the silent majority, a musical plea for active empathy.
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