by Nizam Peter Kettaneh and Ryan Brown

Synopsis and Commentary of Beethoven’s Leonore of 1805 By Nizam Peter Kettaneh and Ryan Brown

Overture. Beethoven wrote the overture known as “Leonore No.2” first. It is in two movements: Andante con moto and Allegro con brio. For his revision of Leonore in 1806, which reduced the work from three to two acts, he composed the overture known as “Leonore No.3.” The overture known as “Leonore No.1” was composed in 1807 when he revised the work again, in anticipation of a performance at the Prague Theater which did not materialize.

ACT I No.1 Aria of Marzelline: O wär’ ich schon mit dir vereint (O were I already united with you)

Marzelline is in love with Fidelio, the key-carrier (who is none other than Leonore, the wife of the unjustly imprisoned Florestan, and who is disguised as a man in order to gain access to save her husband). Marzelline awaits the return of Fidelio, sent on errands by her father, Rocco the jailer, and sings of the joys of being soon married to Fidelio.

In 1805 Beethoven placed this aria first, like Gaveaux and Bouilly. It established the importance of the key C Major, presaging the movement from c minor to C Major in the Finale of the opera and the theme of hope-love that will be associated with this key throughout the opera.

Jaquino, the doorman of the prison, is the jilted lover of Marzelline. He tries to speak to Marzelline and to express his love, but no longer interested, she rebukes him.

Pascale Beaudin as Marceline in Opera Lafayette’s Léonore, ou L’Amour conjugal by Gaveaux and Bouilly. (Louis Forget).

No.2 Duet of Marzelline and Jaquino: Jetzt, Schätzchen, jetzt sind wir allein (At long last, sweetheart, we are alone)

Marzelline makes it clear to Jaquino that her heart is set on Fidelio. Whereupon Rocco enters and Jaquino pleads his case to him. Rocco sides with his daughter and tells Jaquino that Marzelline is not for him.

This duet is also closely modeled on Gaveaux/Bouilly. In subsequent revisions Beethoven placed it after the overture and before Marcelina’s aria.

No.3 Trio of Marzelline, Jaquino and Rocco: Ein Mann ist bald genommen (A husband is soon chosen)

Rocco warns that marriage is not something to be taken lightly; Jaquino is upset at Marzelline’s refusal, and Marzelline will not be swayed in agreeing to marry Jaquino.

This trio, not in the Gaveaux/Bouilly, was discarded in the 1806 revision of Leonore and does not appear in Fidelio.

Fidelio returns loaded with groceries and heavy chains. Rocco congratulates him on his diligence and promises that it shall be rewarded.

No.4 Quartet of Marzelline, Leonore, Jaquino and Rocco: Mir ist so wunderbar (A wondrous feeling fills me)

Marzelline expresses her happiness that Fidelio loves her, Leonore, her uneasiness that Marzelline loves her, Rocco, his satisfaction that Marzelline and Fidelio are meant for each other, and Jaquino, his bewilderment at Rocco’s favoring Fidelio over himself.

Because in 1805 the longer Act 1 (complete with the trio, #3) focuses on the domestic plot, Joseph Kerman has suggested that the meaning of this canon is less enigmatic than in 1814. About this original work by Beethoven, Michael Tusa observes that “Like peasant choruses in Figaro and Don Giovanni the Act I canon couples G Major with compound metre, in this case to evoke the idyllic dreams of the working-class Marzelline.” It also, of course, anticipates the other extraordinary moment of reflection, “O Gott, o welch ein Augenblick” in the Finale of the opera. Marceline (Pascale Beaudin) and Jacquino (Keven Geddes) in Opera Lafayette’s piano dress rehearsal of Gaveaux/Bouilly’s Léonore, ou L’Amour conjugal. (Pierre-Etienne Bergeron).

Rocco promises that he will marry Fidelio to Marzelline after the departure for Sevilla in a few days of Pizarro, the governor of the prison.

No.5 Aria of Rocco: Hat man nicht auch Gold beineben (If you do not have gold by you)

Rocco warns that love is not enough for a happy life. One needs also to have gold.

This aria is very similar to that of Gaveaux/Bouilly. Unlike textual revisions found in 1814, it also includes biting social commentary about the shameful use of wealth.

Fidelio expresses her eagerness to help Rocco in his duties by accompanying him in his rounds of the prisoners because Rocco comes back from his rounds absolutely exhausted. Rocco tells him that the Governor has given strict orders that no one be allowed near the prisoner of State, but Marcelina pleads that her father must accept Fidelio’s assistance for her and Fidelio’s sake. Rocco agrees to seek Pizarro’s permission for Fidelio to accompany him, at the same time informing them that there is one prisoner who has been imprisoned for two years and whose ration of food has been diminished for the past month on orders of the governor and who will soon die. Fidelio senses that this could well be her husband, Florestan, but cannot get any more information from Rocco. Marcelina fears that such a sight might be too much for Fidelio, but Fidelio assures her that he has might and courage.

No.6 Trio of Marzelline, Leonore and Rocco: Gut, Söhnchen, gut (Good, my son, good)

Rocco congratulates Fidelio for his courage; Fidelio assures that his love will give him strength and courage, while Marzelline expresses her concern that Fidelio will suffer in seeing the pitiful condition of the prisoner of State. Rocco promises to speak to the Governor today to get his permission to have Fidelio accompany him and tells Fidelio to join hands with Marcelina, which they do, Fidelio, with misgivings, and Marzelline, with joy.

This trio closes the first of Beethoven’s 1805, three-act conception, and is not found in Gaveaux/Bouilly’s two-act work.

ACT II No.7 March.

The Governor Pizarro enters and gives orders for sentries to keep watch and to warn him of anyone’s approaching the prison. He has learnt from an agent that the Minister is going to make a surprise visit to check on reports that there are prisoners detained without authority.

This short piece “alla Marcia” was formerly thought to be incidental music to the play Tarpeja, but scholars now believe it to be from the 1805 Leonore.

No.8 Aria of Pizarro with Chorus: Ha! Welch ein Augenblick! (Ha! What a moment!)

Pizarro is savoring his vengeance on Florestan. He will kill Florestan and bury his body before the Minister arrives. The soldiers comment on Pizarro’s agitation and decide to go about their duty, fearing reprisal. Marceline (Pascale Beaudin) and Fidélio (Kimy McLaren) in the piano dress of Opera Lafayette’s Léonore, ou L’Amour conjugal by Gaveaux/Bouilly. (Pierre-Etienne Bergeron).

Pizarro’s character in Gaveaux/Bouilly does not sing, and the textual material of this aria, the following duet #9, and the Act 3 Quartet No. 16 are newly set to music by Beethoven.

No.9 Duet of Pizarro and Rocco: Jetzt, Alter, jetzt hat es Eile! (Now, old chap, we must hurry!)

Pizarro tries to bribe Rocco into murdering Florestan, but Rocco refuses. Pizarro tells Rocco to dig a grave in the disused well in the dungeon where Florestan is imprisoned and, when done, to give him a signal, at which point Pizarro in disguise will enter the dungeon and murder Florestan.

No.10 Duet of Marzelline and Fidelio: Um in der Ehe froh zu leben (To be happy in marriage)

Marzelline sings that one must above all be faithful to one and never give grounds to suspicion, to which Fidelio agrees. She then sings of the happy days that they will spend with their aging father and of the joys of motherhood. Fidelio expresses his misgivings at having to deceive Marzelline.

This duet closely resembles Gaveaux/Bouilly, but it has the effect of returning the plot to the theme of love (again, in the key of C Major), after the dramatic, newly-composed music for Pizarro and Rocco (No.8 and 9), so it was discarded in the revisions that led to Fidelio of 1814.

Marcelina leaves in order to let the prisoners come to take a breath of fresh air.

No.11 Recitative and aria of Fidelio: Ach, brich noch nicht / Komm, Hoffnung (Ah, do not break / Come, o hope)

Left alone, Fidelio reflects on her imminent meeting with her husband and prays that hope will give her the strength successfully to save him.

This aria is set very similarly to Gaveaux/Bouilly, with a prominent use of horn(s), and with the mood established by the introductory recitative which follows the preceding duet. In the Fidelio of 1814, when the preceding Marzelline and Fidelio duet (No.10) was discarded, Beethoven wrote a new dramatic recitative to follow the Pizarro and Rocco duet (No.9), which serves as a prelude to this aria.

No.12 Finale (Chorus of prisoners, Marzelline, Fidelio, Pizarro, Rocco): O welch Lust (Oh what happiness)

The prisoners sing their happiness to breath in the light of the day and a prisoner expresses his hope to be freed one day. Another prisoner warns him to speak softly, because they are being watched. Rocco comes and pushes them back to their prisons; then he informs Fidelio that Pizarro has given permission for Fidelio to accompany him to the dungeon of the prisoner of State, Florestan. He also tells him that he will have to dig a grave, because Pizarro will kill Florestan and they will have to bury him. Marzelline and Jaquino enter hurriedly to warn Rocco of the arrival of Pizarro in a bad temper. Pizarro arrives and berates Rocco for dawdling and sends him and Fidelio off to their duty; then, turning to the guards, Pizarro orders them to keep good watch, which they promise to do, while Pizarro savors his imminent revenge.

The opening of the prisoner’s chorus in this 1805 Finale is very similar to Gaveaux/Bouilly. In Beethoven’s revisions to this Finale, however, he deleted the blustering ending of Pizarro and his guards in favor of a quiet description of the prisoners’ returning to their cells, which echoes the structure of the Gaveaux/Bouilly Finale.

ACT III No.13 Introduction, recitative and aria of Florestan: Gott, welch Dunkel hier! / In des Lebens Frühlingstagen (God! How dark it is here! / In the Springtime of my life)

Florestan remarks on the darkness and silence of his surrounding and submits his suffering to the will of God. Then, in the aria he recalls how the happy days with his wife were removed, because he did his duty by speaking the truth. He pulls out a portrait of his wife and tells her to sooth her grief with the thought that he has done his duty.

Florestan (Jean-Michel Richer) in Opera Lafayette’s Léonore, ou L’Amour conjugal by Gaveaux/Bouilly (Louis Forget).

Much of the aria portion of this number has been lost except for a few bars that have survived the many revisions of the score. Using whatever remained of the original score and the many sketches left by Beethoven of this scene, musicologist, Will Crutchfield, has re-imagined the scene, assembling a near-complete draft of the melodic line, both vocal and instrumental, based on Beethoven’s material. Beethoven’s existing 1805 recitative, however, is strikingly similar to Gaveaux/Bouilly in vocal range and character, and we know that in 1805 he gave new music to the different quatrains of the poetry in the aria. (Gaveaux set the different quatrains as a set of strophic variations.) Beethoven’s subsequent revisions were substantial, however, and, along with a new text for the final section in 1814, suggested a change not only to the vocal line, but to the character of Florestan. As Winton Dean has suggested, the original 1805 f minor conclusion “has a defiant stoicism that is not only most movingly expressed but enlarges our view of Florestan’s character.” It also creates an extraordinarily smooth transition to the subsequent Melodrama and duet.

No.14 Melodrama and duet of Rocco and Fidelio: Nur hurtig fort (Come, get to work)

Rocco and Fidelio have arrived in the dungeon where Florestan is chained. Over the melodrama music, Fidelio and Rocco comment how cold it is and Rocco points at the sleeping Florestan, but it is too dark for Fidelio to distinguish Florestan’s features. Rocco then points to the disused well which needs to be freed from the rubble obstructing it.

In the duet that follows, Rocco enjoins Fidelio to get to work quickly, because Pizarro will soon arrive; they both set to work digging with much effort. This duet is very similar to the duet in Gaveaux/Bouilly.

Florestan wakes up. Rocco leaves the pit they have been digging to speak to Florestan, while Fidelio listens intently. Upon recognizing the voice of her husband, she becomes weak and keeps herself from falling by clinging to the rim of the pit. Florestan asks Rocco who is the governor of the prison. Upon learning it is Pizarro, he begs Rocco to go as soon as possible to Sevilla and tell his wife of his condition. Rocco tells him he cannot do it. Florestan then asks for water. Rocco tells him he can give him the wine he has in a flask and asks Fidelio to bring it.

No.15 Trio of Fidelio, Florestan and Rocco: Euch werde Lohn (In better worlds you will be rewarded).

Florestan thanks Rocco for his kindness, Rocco feels sorry for the man who has only a little while to live; Fidelio feels great compassion and obtains permission to give Florestan a piece of bread that she has in her pocket, for which Florestan thanks her.

This trio too is remarkably similar to Gaveaux/Bouilly.

Rocco then tells Fidelio that he will give the signal. Pizarro enters and asks if all is ready. Rocco tells him that they only need to open the well’s door. Pizarro tells Rocco to send Fidelio away; while Rocco motions to Fidelio to go, Pizarro comments that he will have to get rid of both of them later today so his deeds will remain uncovered forever. Rocco asks Pizarro if he wishes to have the prisoner unchained. Pizarro says no and draws a dagger. Léonore (Kimy McLaren) captures Pizare (Dominique Côté) in piano dress rehearsal for Opera Lafayette’s Léonore, ou L’Amour conjugal by Gaveaux/Bouilly. (Pierre-Etienne Bergeron)

No.16 Quartet of Fidelio, Florestan, Pizarro and Rocco: Er sterbe! (He shall die!)

Pizarro reveals to Florestan who he is and mocks him for having attempted to overthrow him. Now Pizarro will murder him. Fidelio thrusts herself between Pizarro and Florestan, revealing that she is Leonore, Florestan’s wife, to the consternation of Pizarro and Rocco and to the joy of Florestan. She pulls a pistol aiming it at Pizarro. A trumpet call is heard signaling the arrival of the minister. Leonore and Florestan rejoice, Pizarro curses, and Rocco is dumbfounded.

Pizarro leaves hurriedly followed by Rocco who wrestles the pistol from Leonore’s hand. Emotionally exhausted and distraught for having lost her weapon, Leonore faints.

This quartet, not set to music by Gaveaux, ends in Beethoven’s 1805 version on an extraordinary note of dissonance; the fact that Florestan and Leonore do not know whether in fact they will for certain be saved retains a dramatic tension that was abandoned in the revisions of the finale for the 1814 Fidelio.

No.17 Recitative and Duet of Leonore and Florestan: Ich kann mich noch nicht fassen / O namenlose Freude! (I cannot believe it / Oh, joy beyond words!)

Florestan cannot believe that his wife has come and calls her to him. Leonore comes back to her senses and hurries to Florestan, who clasps her in his arms. They sing of their joy to be reunited.

The duet has a predecessor in Gaveaux/ Bouilly. When Beethoven and his new librettist reconceived the end of the Fidelio of 1814, Beethoven discarded this extraordinary recitative while retaining the duet.

Dom Fernand (Alexandre Sylvestre) acquits Léonore (Kimy McLaren) and her husband Florestan (Jean-Michel Richer) on the set designed by Laurence Mongeau in Opera Lafayette’s production of Gaveaux/Bouilly’s Léonore, ou L’Amour conjugal. (Louis Forget).

No.18 Finale (Chorus of prisoners, townspeople, Leonore, Marzelline, Florestan, Pizarro, Rocco, Don Fernando, Jaquino): Zur Rache (Vengeance)

The voices of prisoners seeking vengeance are heard in the distance; Leonore and Florestan fear that their last moments have arrived and are ready to face death, which will put an end to their suffering and let them die in each other’s arms. Rocco enters followed by Don Fernando, Pizarro, Marzelline, Jaquino, the prisoners and townspeople. He asks Don Fernando to have mercy on Leonore and Florestan. Don Fernando says he came to avenge virtue and be their savior. Rocco returns the pistol to Leonore and tells her he took it away for fear that she may use it against herself in her despair. Don Fernando asks Rocco to hand the keys to Leonore so she may free her husband from his chains. All present praise the Lord and his justice. Don Fernando asks Rocco how long Florestan was imprisoned and tells Pizarro that he shall suffer the same fate. The chorus exclaims that the punishment is too light, while Florestan asks Don Fernando to be lenient. Don Fernando decides to leave the matter to the judgement of the king. All praise the courage and virtue of Leonore.

While the outlines of this Finale are similar to, and have a precedent in, two short final numbers by Gaveaux/Bouilly, as in all else, Beethoven greatly expands upon the dramatic material. In 1814, however, Beethoven and his librettist would take the final scene out of the dungeon and into the daylight, focus on the chorus and a new ode to freedom. In his first conception of 1805, the scene does not change, and the focus remains on the noble Leonore’s virtue.