Schubert could write great melodies and he had a real affinity for the voice so one might expect him to have been successful when he turned his hand to opera. He wasn’t with Fierrabras which wasn’t performed until decades after his death and has been revived seldom since, most recently at Salzburg in 2014 where it was recorded. It’s easy to see why. The libretto is awful and even if the music were really amazing, which it isn’t but more of that later, I doubt it would have made much impact.
Fidelio is an interesting piece. The music is great and it has a powerful, very straightforward, plot. There are no convoluted subplots here. But there is a lot of spoken dialogue which slows things down. Is it necessary? Claus Guth doesn’t think so and in his 2015 Salzburg production he replaces the dialogue with ambient noise and also doubles up Leonora and Don Pizarro with silent actor “shadows”; the former using sign language in the manner of the narrator character in Guth’s Messiah. It works remarkably well. The ambient noise sections are quite disturbing and the “shadows” add some depth, especially the frantic signing in the final scene. Perhaps worth noting that the “noise” contains a lot of very low bass and precise spatial location. It may need a pretty good sound system to have the intended effect.