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Interpretation of Beethoven's Fidelio or Leonore and four different overtures (Paperback)
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Interpretation of Beethoven's Fidelio or Leonore and four different overtures (Paperback)
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Scholarly Research Paper from the year 2010 in the subject
Sociology - Media, Art, Music, The University of Malaya, language:
English, abstract: Written with librettist, Joseph von
Sonnleithner, Beethoven's first version was divided into three acts
in the style of a German Singspiel. In a singspiel, a fresh start
has to be made after every spoken interruption. Fidelio was first
performed on November 20, 1805 after being delayed due to issues
with the censors. The opera opened to a small audience and negative
reviews. A year later Beethoven attempted a revision of Fidelio for
the same theatre. Due to a change in management Beethoven was
presented with a new librettist by the name of Stephan von
Breuning. After a great deal of struggle, a very reluctant
Beethoven agreed to a much more condensed and concise version of
the opera. The newly revised version was performed on May 29, 1806.
Again the audience was not Beethoven's ideal audience and the show
failed once again. After reading a refined libretto by Georg
Friedrich Treitschke, Beethoven agreed the revival but insisted on
a complete revision in which he virtually started over. Nearly
every number was altered in some fashion. The third and final
version of the opera opened with great success on May 23, 1814. It
took Beethoven over a decade to complete his only opera. Throughout
the many revisions he produced four different overtures. The first,
now known as Leonore #2 was written for the opera's premiere in
1805. Because some sections proved to be too difficult Beethoven
began reworking the overture for the opera's revival in 1806. The
new version became known as Leonore #3. Beethoven's final revision
composed for the 1814. Production was called the Fidelio Overture.
After his death a fourth overture was found. Entitled Leonore #1 it
is believed he either wrote it first or for a production of Fidelio
in Prague that never happened. Leonore #3 is often played between
the two scenes in Act 2. However, many critics such
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