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Updated: June 9, 2025
The Viennese first heard the latter in 1809. Again, at the first production of the "Fidelio," in 1814, Marx says, the Leonore Overture No. 3 was played because that in E flat was not finished.
Beethoven's favourite maxim was, "The barriers are not erected which can say to aspiring talents and industry, 'Thus far and no farther." When Moscheles submitted his score of 'Fidelio' for the pianoforte to Beethoven, the latter found written at the bottom of the last page, "Finis, with God's help." Beethoven immediately wrote underneath, "O man! help thyself!"
This part was for years regarded as standing to her what Medea was to Pasta, Norma to Grisi, Fidelio to Malibran and Schröder-Devrient, and it was only when she herself made a loftier flight as Fides in "Le Prophète" that this special connection of the part with the artist ceased. Her genius always found a more ardent sympathy with the higher forms of music.
She represented Fidelio five times and Norma thrice. Her features were most expressive, and well adapted to the lyric stage; her manner also was dramatic and energetic. She was highly original, and always thought for herself. Possessing a profound insight into character, her conception was always true and just, while her execution continually varied.
Spontini's "Cortez," Weber's "Euryanthe," Wagner's "Rienzi," and Beethoven's "Fidelio," are among the most interesting revivals during Mr. Stanton's enterprising régime. No composer, and few poets, have ever inspired so many artists to visualize their conceptions on canvas as the poetic scenes suggested in Wagner's dramas. A special exhibition of such pictures was held in Vienna some years ago.
In a letter dated 1838 he writes concerning his "Davidstänze:" "If I ever was happy at the piano it was when I composed these pieces;" and it was well known that up to 1839 "he used to compose sitting at the instrument." We have also just seen how Beethoven practically composed one of his "Fidelio" arias at the piano. Nor was this by any means an isolated instance.
Despite the triviality of Da Ponte's book, the impetus of the music carries along the action at a tremendous speed; the moments of relief occur just when relief is necessary, and never retard the motion; the climaxes are piled up with incredible strength and mastery, and have an emotional effect as powerful as anything in "Fidelio" and equal to anything in Wagner's music-dramas; and most stupendous of all is the finale, with its tragic blending of the grotesque and the terrible.
Leaning against the trunk of a lime tree, his eyes fixed upon the network of leaves and branches above him, he sketched the plan of his oratorio "The Mount of Olives"; also that of his one opera "Fidelio," and the third Symphony, known as the "Eroica." He wrote to a friend, "No man loves the country more than I. Woods, trees and rocks give the response which man requires.
"Lodoïska," which cast the old Italian operas into permanent oblivion, and laid the foundation of the modern French dramatic school in music, has a libretto similar to that of "Fidelio" and Grétry's "Coeur de Lion" combined, and was taken from a romance of Faiblas by Fillette Loraux.
In 1814 Treitschke revised it, and it was produced at the Kärnthnerthor Theatre, Vienna, May 23, of that year, as "Fidelio," which title it has ever since retained. Its first performance in Paris was at the Théâtre Lyrique, May 5, 1860; in London, at the King's Theatre, May 18, 1832; and in English at Covent Garden, June 12, 1835, with Malibran in the title-rôle.
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