Organization

Admin

National Kaohsiung Center for the Arts (Weiwuying)

Dirigent

Wen-Pin Chien

Zanger

Bass

Wen-I Tseng

Don Fernando

Baritone

Fang-Hao Chao

Don Pizarro

Tenor

Fernando Wang

Florestan

Soprano

Jo-Pei Weng

Leonore

Ming-Mou Hsieh

Rocco

Lin Yi-wei

Jaquino

Orchestra

Evergreen Symphony Orchestra

Others

Taipei Philharmonic Chorus

Lin Wen-hua

Marzelline

Duits

Fidelio

Kaohsiung City

Taiwan

National Kaohsiung Center for the Arts

Concert Hall

Fidelio Beethoven

Public

Rahul Solomon

Engels

Approved

BEETHOVEN's Fidelio - Opera in Concert
"This is the one child that subjected me to the greatest labor pains and anxieties."

With these words, BEETHOVEN described Fidelio, his sole opera imbued with a tumultuous destiny, shortly before his passing. Indeed, he invested immense effort in choosing the theme, persistently refining the composition, and even implementing further revisions following performances yet never relented despite the strenuous processes. Perhaps, as a creator, he recognized the exceptional qualities encapsulated within this creation, which resonated with an integral aspect of his spirit and willpower.

However, BEETHOVEN did consider alternative themes such as that of SHAKESPEARE's Macbeth. The storyline of Fidelio emerged as a prominent example of rescue operas during that era. As a maestro who valued originality, he had no inclination to conform to compositional trends. His lingering fascination with Fidelio can be attributed to the female protagonist, Leonora, whose depiction as the "eternal and ideal woman" resonated deeply with audiences. The tale of moral nobility triumphing over deceitful schemes also profoundly inspired BEETHOVEN. Perhaps, his own compositions moved him as well. How could one listen to the passionate, agonizing cries of the male protagonist within his prison cell and not experience the emotional impact? Who could remain unaffected when faced with the radiant humanity expressed by the prisoners' chorus, causing tears to shed? When Leonora surmounted countless obstacles and, in the face of imminent peril, brandished a gun to challenge the villains; when injustice was eradicated and justice ultimately prevailed over evil, leading to a jubilant chorus, who could remain unmoved by the stirring spectacle, their emotions ignited in harmony with the music? Fidelio encompasses numerous exquisite and enthralling moments. Even amidst its gravitas, there are instances of lightheartedness. The subplot where the jailer's daughter falls in love with Leonora, who disguises herself as a man and courageously infiltrates the prison to rescue her husband, injects the work with a touch of humor and amusement. It merits repeated listens and viewing, offering an experience that is endlessly fulfilling.

Even after numerous revisions, Fidelio retains a subtle uniqueness distinguishing it from conventional operas with which people are familiar; it resembles more of a symphony enlivened by characters. BEETHOVEN's penchant for treating vocals with instrumental techniques places soloists in an arduous position as they wrestle with intricate and demanding vocal passages. Nonetheless, Fidelio has consistently garnered acclaim for its distinctive musical quality. It not only ranks high amongst BEETHOVEN's most significant work but also as one of the foremost operatic achievements. In this rendition led by CHIEN Wen-pin, the Evergreen Symphony Orchestra and the Taipei Philharmonic Chorus collaborate with exceptional domestic vocal talents WENG Jo-pei and Fernando WANG along with MO Tzu-yi, who won the Golden Horse Award for Best Leading Actor, to deliver a spectacular performance. For those genuinely seeking to immerse themselves in the essence of BEETHOVEN, disregarding Fidelio would be a grave oversight! (Written by CHIAO Yuan-pu)

English

貝多芬《費黛里歐》歌劇音樂會
貝多芬的唯一歌劇作品不容錯過

刻劃人性正義戰勝黑暗精湛之作

 

「在我所有孩子裡，這是讓我經歷最多產前陣痛，又帶來最多憂慮的一個。」

 

就在過世前不久，貝多芬曾如此形容《費黛里歐》，他命運多舛的唯一歌劇。畢竟他從選題就耗費苦心，寫作一改再改，演後又繼續改版。無論過程有多苦，貝多芬始終沒有放棄。或許正是身為父母，他知道這個孩子擁有何其特別的資質，更包含自己精神意志最重要的一部分。

 

貝多芬不是沒想過其他題材，還一度考慮莎士比亞《馬克白》。《費黛里歐》劇情是當時流行的「救援歌劇」，這位講求原創的大師其實沒道理跟風寫作。之所以念念不忘，在於女主角蕾歐諾拉的「永恆女性」與「理想女性」形象深深觸動人心，崇高道德戰勝陰險謀害的劇情更使他大受激勵。或許，貝多芬也被自己譜出的音樂感動：誰能聽了男主角在牢中慷慨激昂的痛苦悲鳴而不深受震撼？誰能聽了囚犯合唱所呈現的人性光輝而不覺熱淚盈眶？當蕾歐諾拉排除萬難，千鈞一髮之際持槍恫嚇惡賊；當冤情洗雪，正義終於戰勝邪惡，眾人歡聲高唱之時，又有誰能不為之激動，和音樂一起熱血沸騰？《費黛里歐》有太多美好迷人段落，千金嚴肅中甚至還有一兩莞爾，安排獄卒之女愛上女扮男裝、勇闖死牢救夫的蕾歐諾拉，喜感笑料妙趣橫生，值得一聽再聽、一看再看。

 

即使已翻修數次，《費黛里歐》仍和一般熟悉的「歌劇」略有不同，更像是有角色的長篇交響樂。貝多芬習慣以器樂手法處理聲樂，歌手因此面臨巨大挑戰，得對付刁鑽又折磨人的艱難唱段。但《費黛里歐》以其高貴的音樂品質而始終為人看重，不只名列貝多芬最重要的創作，也屬於最重要的歌劇。此次簡文彬率領長榮交響樂團與台北愛樂合唱團，加上翁若珮與王典等國內頂尖聲樂陣容、金馬影帝莫子儀跨界演出，必然精采可期。想要真正深入貝多芬，絕對不可不知《費黛里歐》！（文｜焦元溥）

中文

Fidelio by Beethoven, Van (2024/2024), Dirigent Wen-Pin Chien, National Kaohsiung Center for the Arts, Kaohsiung City, Taiwan

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