| Teatro Real | ||
| Hartmut Haenchen | Dirección | |
| Pier' Alli | Dirección de escena | |
| Alfons Flores | Diseño de escena | |
| Lluc Castells | Diseño de vestuario | |
| Orquesta Sinfónica de Madrid | ||
| Coro Intermezzo | ||
| Adrianne Pieczonka | Soprano | Leonore |
| Anett Fritsch | Soprano | Marzelline |
| Michael König | Tenor | Florestan |
| Ed Lyon | Tenor | Jaquino |
| Alan Held | Bajo-barítono | Don Pizarro |
| Goran Jurić | Bajo | Don Fernando |
| Franz-Josef Selig | Bajo | Rocco |
“The starry sky above me and the moral law within me”. Who better than Beethoven himself to express his feelings on his only opera, Fidelio, emerging somewhere between the domestic comedies of the eighteenth century and the great romantic passions that dominated the rest of the nineteenth century. In this piece, which the composer Bonn considered “the son who has caused me the worst pain, but is also my most beloved”, the embodiment of his musical genius, the redemption of a prisoner through the loyalty and valour of his wife is progressively transformed, in the drama and music, into a collective song of human liberty and hope setting out the erudite ideas of its creator. Today more than ever, after a twentieth century that witnessed the death of the ideologies, it becomes the utopia of those who call for the values that are yet to be conquered. The staging by La Fura dels Baus lays a bridge between Beethoven’s preoccupations and today’s.
New production of Teatro Real, in coproduction with l’Opéra national de Paris.
