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Updated: June 9, 2025
The countess, who had drawn a little apart, now again placed her hand on Florestan's arm and gently led him a little away from her aunt and M. de Riancourt. "Monsieur de Saint-Herem," she said with emotion, as they walked slowly on, "your idea is not only charming, but of a touching delicacy.
Saint Remy, continuing to walk with agitation, raised mechanically the curtain which separated the saloon from Florestan's study and entered the apartment.
When he went into the country in the early summer, as was his custom, he carried with him 346 pages of sketches for the opera, sixteen staves on a page; and among these sketches were sixteen openings of Florestan's great air, which may be said to mark the beginning of the dramatic action in the opera.
An instrumental introduction ushers in the second act. It is a musical delineation of Florestan's surroundings, sufferings, and mental anguish. The darkness is rent by shrieks of pain; harsh, hollow, and threatening sound the throbs of the kettle-drums. The parting of the curtain discloses the prisoner chained to his rocky couch.
The last scene of the act introduces the strong chorus of the prisoners as they come out in the yard for air and sunlight, after which Rocco relates to Fidelio his interview with Don Pizarro. The latter orders the jailer to return the prisoners to their dungeons and go on with the digging of the grave, and the act closes. The second act opens in Florestan's dungeon.
At that time the news arrives that an envoy of the king is coming to see that no injustice is being done by Pizarro. Pizarro has been hoping to starve Florestan slowly to death; but now he sees the necessity of more rapid action. He therefore tells Rocco to dig a grave in Florestan's cell, and he himself will do the necessary murder. This brings about the great prison scene.
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