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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

Fidelio

Cast sheet

Wednesday 9 October 2024

|

7.30pm

OPERA IN TWO ACTS
The 223rd performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from

Royal Ballet and Opera Principal

Julia Rausing Trust

Approximate timings

The performance lasts about 2 hours 35 minutes, including one interval
Act I
75 minutes
Interval
30 minutes
Act II
50 minutes
Credits

Music

Ludwig van Beethoven

Libretto

after Jean-Nicolas Bouilly’s French libretto Léonore, ou l’amour conjugal

Joseph von Sonnleithner, Stephan von Breuning, Georg Friedrich Treitschke

Conductor

Alexander Soddy

Director

Tobias Kratzer

Revival Director

Anja Kühnhold

Designer

Rainer Sellmaier

Lighting Designer

Michael Bauer

Video Designer

Manuel Braun

Dramaturg

Bettina Bartz

Cast

Leonore

Jennifer Davis

Florestan

Eric Cutler

Rocco

Peter Rose

replaces Dmitry Belosselskiy

Marzelline

Christina Gansch

Jaquino

Michael Gibson

Don Pizarro

Jochen Schmeckenbecher

Don Fernando

Phillip Rhodes

First Prisoner

Siphe Kwani

Second Prisoner

Eugene Dillon-Hooper

Actors

Marius Boehm, John Gorick, Matt Jones, Chris Keyna, Eduardo Lins, Robert Daoust, William Ludwig, Aidan Parsons, Jason Sabin, Mark Sangster

Siphe Kwani is a Jette Parker Artist
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Sergey Levitin

Extra Chorus

Sopranos

Jessica Broad, Angela Caesar, Rachel Chapman, Christine Cunnold, Celeste Gattai, Shafali Jalota, Kathryn Jenkin, Bernadette Lord, Alison Rayner, Elizabeth Roberts, Anna Samant, Juliet Schiemann, Rosalind Waters, Vanessa Woodfine

Mezzo-sopranos

Jeanette Ager, Siobhain Gibson, Maria Jones, Clare McCaldin, Jennifer Westwood

Tenors

Robert Amon, Phillip Bell, Simon Biazeck, Phillip Brown, Andrew Busher, Edmond Choo, Nick Hardy, Andrew Friedhoff, Darrell Forkin, James Scarlett, Alex Wall

Basses

James Birchall, Mark Campbell-Griffiths, Oscar Castellino, Oliver Gibbs, Gabriel Gottlieb, Gavin Horsley, James Quilligan, Mark Saberton, Miles Taylor, Jochem Van Ast, Jonathan Wood

Production credits

Music Preparation

Richard Hetherington, William Spaulding, Mark Packwood, Susanna Stranders

Assistant Director

Dan Dooner

Fight Arranger

Lockhart Ogilvie

Language Coach

Franziska Roth

Horse Handler

Will Wanless

Canary Handler

Leigh Bartlet

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

Marzelline, the daughter of prison director, attempts to ward off the advances of the young gatekeeper Jaquino.

ACT I: A PRISON COURTYARD

Marzelline, the daughter of prison director, attempts to ward off the advances of the young gatekeeper Jaquino. The two young people used to be a couple, but now she only has eyes for the new prison guard Fidelio, with whom she secretly dreams of a joint future. What Marzelline little suspects is that Fidelio is in fact a noblewoman named Leonore, disguised as a man in order to search the prison for her vanished husband, Florestan. Leonore, Marzelline, Jaquino and Rocco indulge in wholly contrary hopes for the future.

 

Nor does Rocco suspect Fidelio’s true identity. He would like his new employee to be his future son-in-law and gives him a lesson in pragmatism. Marzelline tries to get closer to Fidelio, who, however, only hopes for a favour from Rocco: a visit down to the prison’s dungeon, where Florestan is presumably being held.

 

The arrival of the governor Don Pizarro is announced. Pizarro, formerly Florestan’s close friend, has been transformed by political circumstances into his bitterest foe and is responsible for Florestan’s secret imprisonment. Awaiting a prison inspection by the minister, Pizarro resolves to kill Florestan before his whereabouts can be discovered. Pizarro instructs Rocco to prepare for the illegal execution and in return promises a rich reward. Rocco is torn between pity and obedience.

 

Leonore, too, sees herself forced into action by Pizarro’s plans. Terrified, she recalls her love for Florestan and her inner determination. As her first act of human sympathy she persuades Rocco to allow the prisoners to spend a brief moment of happiness in the fresh air. Pizarro is outraged, but grants Rocco’s request to take Fidelio as his assistant into the dungeon where Florestan lies in chains. Together, Leonore and Rocco begin their descent into the secret chamber.

 

INTERVAL

 

ACT II: A DUNGEON

 

Florestan feels nothing but darkness and silence. He is denied any form of help. Only the thought of Leonore allows him to maintain his faith in God and Man.

 

Rocco and Fidelio excavate a grave. Leonore finds it hard to recognize her husband in the distraught prisoner, but she is determined to rescue him, even if he is not Florestan. She again succeeds in persuading Rocco to an act of human kindness. More than bread and water, Florestan is moved by the stranger’s comfort. He does not yet recognize his wife.

 

Pizarro wants to carry out the execution in person. But just before he can murder Florestan, Fidelio steps between the two men and discloses her true identity: ‘First kill his wife!’ Amid the confusion a trumpet signal resounds, seemingly announcing the redemptive arrival of the minister, although danger still remains. Leonore and Florestan finally recognize each other.

Not until the people raise their voices does the dungeon give way to an open square. A minister pardons Florestan in the name of the throng. Don Pizarro is overpowered. And Marzelline subordinates her personal feelings to the general liberation. The euphoria at Leonore’s act of rescue knows no bounds.

 

 – Tobias Kratzer

Guidance

Parental guidance recommended
There is mild gore in Act I. There is one gunshot and mild violence during Act II.

Language

Sung in German with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.

For people, not profit.

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