Fidelio, Salzburg Festival 2015

I finally saw, thanks to Medici.tv  Ludwig van Beethoven’s masterpiece (and only opera) “Fidelio”,and oh dear I don’t know how to start…..
To be really honest… I still don’t know if I liked it or not. Maybe I loved it and hated it at the same time. Maybe I dislike it now but I will love it years later? I don’t know…..
This Fidelio production is controversial, and I was not surprised that Claus Guth got booed at the end.  I have many things to say about this… I also think that it was a huge mistake to perform Leonore No 3 Overture during the stage changing. (What they were thinking?!)
The giant monolite was distracting (I got a little bit dizzy!) for me and I actually I hated the multiple shadows of Don Pizarro, with the black costumes and the dark glasses, they reminded me to Agent Smith from “The Matrix” films and I wouldn’t be surprised if Claus Guth is a fan of those films. I think that Claus Guth’s intentions were interesting but unfortunately, it didn’t work for me, and look that I have a very open mind for different or modern staging. As a matter of fact, the modern La Traviata with the Clock and Red dress is more interesting for me.
Definitely this Fidelio production is not “easy” and not for everyone. Which I did love was the orchestra and singing… specially Jonas Kaufmann’s “Gott” which is for history.
Yes, while I found the production, a little bit interesting and at the same time annoying, the performances and singing were, in the other hand, terrific!
BRAVO Jonas Kaufmann, his Florestan is for history and his performance is incredible (The performance of Jonas is probably the only thing that is very worth to see and to recommend about this Fidelio Production)
Adrianne Pieczonka was also marvelous as Leonore/Fidelio… BRAVA!
I liked the idea of Leonore’s shadow, but why with sign language? NOW I found that interesting though… A friend of mine in a Jonas group in which I am also a member made an interesting reference of Beethoven’s deafness and Leonore’s character. I read her review before watching this production… My friend saw Fidelio as a Theater of Shadows… and a Theater of silence… and isolation… maybe that is why the stage is like that… maybe that is why we had those annoying shadows… because it spoke of Beethoven’s isolation, deafness, love for freedom, and what we, all, the human beings are now, prisoners not only physically but also in our interiors. And I ask myself… the many shadows of Don Pizarro are metaphors of the many cruel killers and all the evils of this world? Maybe that was the new point of view in which Guth’s intensions were. Interesting idea…But, in my opinon, it was a mistake doing those shadows dressed up like Agent Smith from the Matrix.
I was dissapointed that Jacquino & Marzelline had a shorter time than in the other (normal) Fidelio productions…
Hans Peter König was marvelous as Rocco and Tomasz Konieczny (sp?!) was also very good as Don Pizarro.
I think that this production was an intellectual (challenge?!) but… unfortunatelly, it failed for me. But what I found interesting is that my European friends loved this producion while my American and also Argentinian friends disliked it.
And I also agree that it was a mistake to cut off the dialogue, which is essential for Fidelio.
I hope that I do not confuse everyone with my comment… I quite like and disliked this Fidelio at the same time… but definitely I do not recommend it to new Opera fans.

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