One great night at the opera: Fidelio at Teatro alla Scala

Milan on December 23, a dark, cold city with sparkly Christmas lights. Beaux Arte style shopping arcades, Gothic style cathedral--French touches in this Italian city. It does not seem much like Rome.

The Duomo at Christmastime, Milan

Before the opera - trumpeters in the windows on Piazza Duomo

play Adeste Fideles for a cheerful shopping-happy crowd

Rattly trams with wooden seats take us to Piazza La Scala. It feels like we are wandering along in the 1890's.

La Scala at night, photo credit: milanozine.it

We have never seen or heard Fidelio, the only opera by Beethoven.  But getting to any opera at Teatro alla Scala in Milan has been on my life list and Fidelio is a bonus.  Maybe because it is the last few days before Christmas, tickets are available.  Trains were full but we got seats.  Everything fell into place well enough and we got to the opera house on time on December 23 for our Christmas gift to ourselves.  The wonderfulness that was this production opened itself to us—the glow of being present and participants in a superb artistic event will last.

Before the curtain went up

We settle in to our seats in Teatro alla Scala surrounded by Italian, French and German attendees. We have only a little time to luxuriate in the beauty of the room before the overture reveals to us the sound quality.  We keep grinning at our good luck.

The audience finding their seats

This was Daniel Barenboim’s last event as musical director of La Scala.  He has been a popular conductor and the musicians of the orchestra were stamping their feet as he emerged onto the podium.  The rush of enthusiasm on the part of the audience as he turned to greet us carried us into the mood of the house.  The syncretism among audience, orchestra and conductor during the long overture revealed to us a musicianship beyond our previous experience.  Our good luck was to be present for a historic performance.

David Barenboim - credit wheremilan.com

Then the curtain rose and voice and visuals were added to the mix.  Perfection got better.

The story is set in a prison in which at least one prisoner is hidden away, imprisoned unjustly.  Our characters are mainly the prison staff.  This production is set in current times so the set reflected concrete walls, prison workers in overalls and workboots.  Hanging laundry framed the entry and introduction of the four key characters of our first half.  Colors and textures of grey concrete, grey and dark colored costumes and a fuzzy pink sweater—all set off by lighting that maintained the feeling of darkness while guiding and allowing us to see each new character as we entered their world.

Jacquino first—working in the mail room but consumed with his sweet, naïve love for Marzelline. Then Marzelline, fond of Jacquino but in love with the newcomer, Fidelio.

Marzelline and Jaquino, credit operatoday.com

Rocco enters, father of Marzelline, generally in charge of the work of the prison as we see it but suffering under a harsh director.  Fidelio struggles in, carrying a heavy box of new chains for the prisoners.

First one, then two, finally all four of these characters sing their internal thoughts in a blend of voices that sent chills up my spine.  Each returned to her/his own theme from time to time in the opera and each maintained the character established in this early aria. Duets, trios or various combinations recurred at key points in the dramatic tension, reminding us of the struggles and heroism of the dramatic action.

Fideleo and Rocco, Jaquino behind - credit tvblog.it

One of my favorite musical forms is close vocal harmony.  This is an opera which uses duets, arias and other close harmony as a key musical form to carry the message.  Light duets of young lovers, deeper and more serious themes of a father's concern for his child, and struggles in an abusive environment are eventually followed by the serious arias and duets in Act 2 when the prisoner Floristan sings of the struggle for justice.  Glorious music, superb voices.  The voices and orchestration follow each other with the orchestra foreshadowing the emotions of the arias.

As the four characters interact, Fidelio’s interest in the prisoners emerges, eliciting the kindness of our key characters as well as the many prison guards who come and go through the set.  Fidelio suggests to Rocco, urged on by the others, to allow the prisoners a day in the spring sun.

The visuals of the pale, ghostly prisoners emerging from the floor in the back of the stage, watched but lightly by the many guards with rods and dogs is matched by the emerging voices of the prisoners gradually swelling with joy at the hope at their opportunity to be in the air and sun.

Prisoners emerge into sunlight - credit milano.reppublica.it

The action is the mixed hope, joy on the part of the prisoners with reaction by the guards who keep them in their places but with a notably light and kindly touch.  I wonder how this scene is played in other productions.  There is scope for much harsher action and emotion on the part of the guards but that remains absent in this production.  Fidelio looks carefully at each prisoner.  Eventually Don Pizarro, the prison governor, enters to put a stop to the joy, introducing the element of evil to the drama.

Rocco’s deep voice and Pizarro’s deep voice blend in a different kind of duet.  Rocco is asked to kill the hidden prisoner, but he refuses.  The price of refusal is, he must prepare the grave.  Fidelio will be allowed to help.

Rocco and Don Pizzaro - credit famigliacristiana.it

Intermission

The scene changes after intermission.  Darker. Bigger blocks and walls of cement.  Virtually no light as the curtain rises.  A voice, a thin shaft of light, a shuffling character in raggy dark clothes singing of his fate, to be unjustly imprisoned for speaking about injustice.  Sublime aria after a dense overture.

Floristan - credit bachtrack.com

Rocco and Fidelio clunk in with their big boots, their shovels and tools. Fidelio and Rocco work at digging the grave; Fidelio keeps trying to see the prisoner.  Rocco defies orders and gives wine and bread to the weak, huddled fellow. Eventually Fidelio sees that it is the one sought.  Fidelio is really Leonore, wife of the prisoner Floristan.  Blended voices as each of the three characters sings their emotions.

Fideleo - credit music-opera.com

Again, the voice of evil enters; the governor arrives to deliver the killing blow.  Each character’s theme and voice create the situation musically before Fidelio reveals herself as Leonore and stops the evil governor from acting.  A distant trumpet sounds, signalling the arrival of Don Fernando, Pizarro’s boss, and Floristan’s friend.

Don Fernando has required a census of all the prisoners, resulting in their release.  More choral music, of prisoners, guards and women (where did they come from?) in a vocal display which filled the house.  The orchestra and chorus have created the audible expression of joy.  We in the audience are swept up.  We two travellers are in heaven.

Don Fernando releases the prisoners - credit gramilano.com

The music and drama draw to a close but the grand feelings continue.  Multiple curtain calls and congratulations for Mr. Barenboim.  Some members of the chorus have been brought forward to be honored with the conductor—we, as outsiders to this city, can only speculate that they are key figures in the opera organization or city life.  But our fellow audience members are wildly clapping and making noise.  The orchestra members are stomping their feet.  Finally, a curtain call for the orchestra musicians—all on stage with their instruments artistically bowing among the blocks of concrete.

One great night at the opera.

Text by Julianne
Uncredited photos by Nancy, who followed the demand of the opera house and didn't take pictures of the performance. Apparently the only person to be so restrained. These pictures found on Google Images.