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The year-old Franz Schubert was in the audience, having sold his school books to obtain a ticket. Further performances were prevented by a disagreement between Beethoven and the theatre management. Fidelio had a long and complicated history of composition. The contract included free lodging for Beethoven in the apartment complex that was part of Schikaneder's large suburban theater, the Theater an der Wien. The current convention is to use the name Leonore for both the three-act and two-act versions and Fidelio only for the final revision.
Welch' ein Augenblick! This version was first performed at the Kärntnertortheater on 23 May , again under the title Fidelio. The composer also wrote a new overture now known as "Leonore No. In this form, the opera was first performed on 29 March and 10 April , with greater success. Denna lista omfattas av kompositörer som verkade under den klassiska eran, från till Till de mest betydelsefulla kompositörerna från denna tid hör Wilhelm Friedmann Bach, Carl Philipp Emanuel Bach, Johann Stamitz, Joseph Haydn, Johann Christian Bach, Antonio Salieri, Muzio Clementi, Wolfgang Amadeus Mozart, Luigi Boccherini.
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Beethoven published the libretto and, in , a vocal score under the title Leonore. After further work on the libretto by Georg Friedrich Treitschke , a final version was performed at the Kärntnertortheater on 23 May As these libretto revisions were going on, Beethoven was also revising some of the music. The increasingly deaf Beethoven conducted the performance, "assisted" by Michael Umlauf , who later performed the same task for Beethoven at the premiere of the Ninth Symphony.
In a letter to Treitschke he said, "I assure you, dear Treitschke, that this opera will win me a martyr's crown. Beethoven revised Fidelio three times; the work caused Beethoven so much vexation that he vowed never to compose another opera. The finale celebrates Leonore's bravery with alternating contributions of soloists and chorus.
Léonore, ou l'amour conjugal by Jean Nicolas Bouilly
In , Beethoven revised his opera yet again, with additional work on the libretto by Georg Friedrich Treitschke. No other work of Beethoven's caused him so much frustration and disappointment. The time Beethoven spent on Vestas Feuer was not entirely wasted, as two important numbers from Fidelio , Pizarro's "'Ha! The role of Pizarro was taken by Johann Michael Vogl , who later became known for his collaborations with Schubert.
Beethoven continued to live at the Theater an der Wien for some time after he had abandoned Vestas Feuer for Fidelio , and was eventually freed from his obligations to Schikaneder after the latter was fired from his post as theater director in Fidelio itself, which Beethoven began in immediately after giving up on Vestas Feuer , was first performed in and was extensively revised by the composer for subsequent performances in and Although Beethoven used the title Leonore, oder Der Triumph der ehelichen Liebe "Leonore, or The Triumph of Married Love" , the performances were billed as Fidelio at the theatre's insistence, to avoid confusion with Pierre Gaveaux 's Léonore, ou L'amour conjugal and Ferdinando Paer 's Leonora , both of which were based on the same source material as Beethoven's opera and in fact Beethoven is known [ citation needed ] to have owned a copy of Paer's score.
Although critics have noted the similarity in plot with Gluck 's opera Orfeo ed Euridice — another underground rescue mission in which the protagonist must control, or conceal, his emotions in order to retrieve his spouse [ 3 ] — it is not known whether Beethoven or any of the librettists had this in mind while constructing the opera. For all this I shall be eternally grateful to you. The distant origin of Fidelio dates from , when the librettist and impresario Emanuel Schikaneder worked out a contract with Beethoven to write an opera.
The opera premiered at Vienna's Theater an der Wien on 20 November The following year, Beethoven's friend Stephan von Breuning rewrote the libretto, shortening the work from three acts to two. This version of the opera was a great success, and Fidelio has been part of the operatic repertory ever since. Beethoven was to set a new libretto by Schikaneder, entitled Vestas Feuer ; however, this libretto was not to Beethoven's liking.
The full score was not published until , and all three versions are known as Beethoven's Opus Noter Lista över klassiska kompositörer efter tidsepok Denna lista omfattas av kompositörer som verkade under den klassiska eran, från till The libretto tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison. The first version, with a three-act German libretto adapted by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly , premiered at the Theater an der Wien on 20 November , with additional performances the following two nights.
Bouilly's scenario fits Beethoven's aesthetic and political outlook: a story of personal sacrifice, heroism, and eventual triumph. With its underlying struggle for liberty and justice mirroring contemporary political movements in Europe, such topics are typical of Beethoven's "middle period". After this premiere, Beethoven's friends suggested he revise and shorten the opera into just two acts, and he did so with the help of his close friend, Stephan von Breuning.
Notable moments in the opera include the "Prisoners' Chorus" O welche Lust —"O what a joy" , an ode to freedom sung by a chorus of political prisoners, Florestan's vision of Leonore who comes as an angel to rescue him, and the scene in which the rescue finally takes place. You have by your co-operation saved what is best from the shipwreck. The success of these performances was hindered by the fact that Vienna was under French military occupation, and most of the audience were French military officers who had little interest in German opera.
By convention, only the final version is called Fidelio , and the others are referred to as Leonore. Portions of the score were originally written for an earlier, never-completed opera. He spent about a month composing music for it, then abandoned it when the libretto for Fidelio came to his attention. He found the difficulties posed by writing and producing an opera so disagreeable, he vowed never to compose another.