# * * * (untitled), C major (based on Prison-Terzetto ("Euch werde Lohn in bessern Welten") from Beethoven's Fidelio)
In 1814 Beethoven revised his opera yet again, with additional work on the libretto by Georg Friedrich Treitschke.
The theater ran up to 15 opera productions a year, including local premieres of Beethoven's Fidelio and Verdi's Ernani, Macbeth, Il Trovatore and Othello.
His Leonor (1798) forms the basis for the libretto which Ludwig van Beethoven used for the opera Fidelio; it was also set by Pierre Gaveaux as Léonore, ou L’amour conjugal, by Simon Mayr as L'amor coniugale, and by Ferdinando Paer as Leonora.
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He is best known for writing a libretto, supposedly based on a true story, about a woman who disguises herself as a man to rescue her husband from prison, which formed the basis of Beethoven's opera Fidelio as well as a number of other operas.
Other roles she sang in Berlin included Leonore in Fidelio, Agathe in Der Freischütz, Sieglinde in Die Walküre, Valentine in Les Huguenots and several Mozart heroines, including Pamina, Donna Anna and Countess Almaviva.
Pierre Gaveaux (9 October 1761 – 5 February 1825) was a French operatic tenor and composer, notable for creating the role of Jason in Cherubini's Médée and for composing the first operatic version of the story that later found fame as Fidelio.
He also directed famous theatrical opera like Il marito disperato by Cimarosa and Fidelio by Beethoven for the San Carlo Opera House in Naples and Boris Godunov by Modest Mussorgsky at the Teatro São Carlos in Lisbon, where in 2003 he also staged Ariadne auf Naxos by Richard Strauss.
Fidelio |
Among Kipnis's most celebrated roles were the bass parts in operas by Mozart and Wagner, as well as the title role in Mussorgsky's Boris Godunov and the part of Rocco in Fidelio by Beethoven.
She was admired for the touching sincerity of her acting and the lyrical warmth of her voice, in such roles as Susanna (The Marriage of Figaro), Pamina (The Magic Flute), Marzelline (Fidelio), Micaela (Carmen), Antonia (The Tales of Hoffmann), Marenka (The Bartered Bride), and Blanche in the British premiere of Poulenc's Dialogues of the Carmelites in 1958.
Although he primarily sang roles from the Wagnerian repertoire, Schmedes was also an admired interpreter of Florestan in Beethoven's Fidelio and the title role of Pfitzner's Palestrina.
Fidelio Films was founded in 2010 by filmmakers David Figueroa, Mark Raso, Mauro Mueller and Mauricio Leiva Cock.
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Fidelio Films is a New York-based independent film production company founded by filmmakers David Figueroa, Mark Raso, Mauro Mueller and Mauricio Leiva Cock in 2010.
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After producing Copenhagen (2014), Fidelio Films is in development on their next feature film with Mauro Mueller directing.
At that theatre, he has since been seen in Gianni Schicchi (as Rinuccio, 1975), Don Pasquale (as Ernesto, directed by John Dexter, 1979), Fidelio (as Jaquino, with Jon Vickers as Florestan, 1980), Wozzeck (as Andres, opposite Anja Silja, 1980), Don Giovanni (as Don Ottavio, 1994), Die Fledermaus (as Alfred, 1995), etc.
Roles she sang in the studio (such as the Empress in Strauss' Die Frau ohne Schatten) or in concert (such as Leonore in Beethoven's Fidelio, and Fidelia in Giacomo Puccini's Edgar) are not included.
He can be seen performing as Boris Godunov, as Sarastro, as Osmin, and as Don Fernando, and in the CBS special Beethoven's Birthday: A Celebration in Vienna, released on DVD as Bernstein on Beethoven: A Celebration in Vienna.
He was also coach at Glyndebourne Opera, working on Fidelio, Alceste, The Rake’s Progress, Arlecchino, many Rossini and all the Mozart operas.
Even though Konwitschny had already directed operas in West Germany (Bluebeard's Castle, Kassel, 1987, and Fidelio, Basel, 1989), it was only after the fall of the Berlin Wall, that his international career took off.
English commentators were enthusiastic about his contribution to these premieres, as well as his singing in the standard repertory roles, including Rocco in Ludwig van Beethoven's Fidelio, Méphistophélès in Faust, Ramfis in Verdi's Aida, Pogner in Wagner's Die Meistersinger von Nürnberg or Jupiter in Gounod's Philémon et Baucis.
The best-known of these live performances are his marvelously funny, light-hearted Loge in Das Rheingold (conducted by Artur Bodanzky, 1937), his passionately dramatic Florestan in Bruno Walter's 1941 Metropolitan Opera broadcast of Fidelio, and as the tenor soloist in Arturo Toscanini's 1941 Buenos Aires performance of Beethoven's Ninth Symphony.
The Großes Haus was opened on 6 October 1972 with Beethoven's Fidelio, the Kleines Haus a day later with Gaston Salvatore's Büchners Tod.
He sang a number of leading tenor parts from the Italian, French and German repertoire, such as Lohengrin, Tamino, Florestan, Faust, Don José and the Duke of Mantua.