His first aria of three, “ Gott! Welch Dunkel Hier!” (“God, what dark here!”) marks the pinnacle of his pain. The fact that Thomas can sing with such gusto while sitting crouched on a stool is mindboggling. His velvety, yet powerful aria communicates pure despair, and we all feel his pain and suffering. The jailed and starving Florestan, embodiment of the resistance, is sensitively played by acclaimed tenor Russell Thomas. James Creswell, Elza van den Heever, and Greer Grimsley.
Grimsley quadruples the tension with his rich, robust bass-baritone. Rocco (bass James Creswell) sings beautifully, with deep compassion for the inmates while Greer Grimsley’s Pizzaro, the corrupt tyrant, booms with frightening passion. The struggles in “Fidelio” make the ending so sweet, and the libretto is thick with rich, complex characters. Van den Heever sings both parts with elaborate emotional resonance, transmitting pain, fortitude, and jubilation. The union of these two characters, each with righteous causes-Leonore’s love and Fidelio’s initiative-make her both heroine and hero. With convincing gender fluidity, soprano Elza van den Heever brilliantly plays both Leonore and Fidelio. Elza van den Heever (Leonore/Fidelio) in Beethoven’s “Fidelio” As I watch, a female and male figure meld into one person. Ozawa cleverly employs a trick to introduce the plot-as the lights dim, a giant black and white photo of a woman appears. Simply, “Fidelio” is the story of Leonore, a wife who pretends to be a male prison worker to break her political dissident husband Florestan out of jail. Conductor Eun Sun Kim’s control and strength give wings to the orchestra, translating Beethoven’s masterpiece into raw human emotion. I feel the dark feelings of despair and sacrifice along with the jubilation of ultimate justice throughout the score.
The joyous libretto of triumph over oppression is perfectly matched with Beethoven’s orchestral genius. The music celebrates emotions, from utter despair to uplifting glory. Photos by Cory Weaverįor me, the biggest payoff is the combination of a happy ending for all and the sensitive, rich score. The San Francisco Opera Chorus (Prisoners’ Chorus).
Nichols’ inventive, revolving set changes worlds in seconds. As the plot unfolds and moves between business offices and jail cells, Alexander V. Ozawa’s modern detention facility at first appears too slick for the story, but the contemporary dress and fixtures make wise modern connections.
Ozawa’s new “Fidelio” updates Beethoven’s opera about triumph over tyranny -delivering a contemporary win over political injustice. Matthew Ozawa Modernizes Beethoven’s Ode to Justiceīeethoven, with help from friends like Matthew Ozawa and the cast, orchestra, and crew of SF Opera gave me two-plus hours of unadulterated joy.
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