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Updated: June 9, 2025
At Weimar, in the evening, they could see Egmont or hear Fidelio, or talk with friends about the last utterance upon the Leben Jesu; but the Fenmarket Egmont was a travelling wax-work show, its Fidelio psalm tunes, or at best some of Bishop's glees, performed by a few of the tradesfolk, who had never had an hour's instruction in music; and for theological criticism there were the parish church and Ram Lane Chapel.
These operas had sprung into sudden popularity, whereas "Fidelio," "Euryanthe," "Lohengrin," and "Tannhäuser," which for years had to fight for every inch of ground, are now masters of the situation, and gaining in popularity every year.
At last, after a great many troublesome discussions, it was settled that the Opera of "Fidelio" should be given on Monday the 18th of July, for my benefit. These receipts at this season of the year may more properly be called deceits; but if a work is in any degree successful it often becomes a little feast for the author. To this feast the master invites his illustrious pupil, and hopes yes!
Leonore, the unhappy prisoner's wife, has discovered his place of confinement, and, in the hope of rescuing him, disguises herself in male attire and hires herself as servant to Rocco, the head gaoler, under the name of Fidelio. In this condition she has to endure the advances of Marcelline, the daughter of Rocco, who neglects her lover Jaquino for the sake of the attractive new-comer.
He returned to the pages before him, to the memories of the radiant Ambre and Marimon, the sylvan echoes of Campanini singing Elvino. Now his recovered glass was intent on a programme of the rapidly successful Metropolitan forces, of the new German Opera, with Seidl-Krauss singing Elizabeth, and Brandt in Fidelio.
"Fidelio" had been already presented in its Italian dress, without making very much impression, for the score had been much mutilated, and the departure from the spirit of the composer flagrant. The opera, as given by artists "to the manner born," was a revelation to English audiences.
We find that in the first volume, four works, the First, Second, and Third Symphonies and the opera "Leonore" or "Fidelio" occupy 136 of the 875 pages; in the second, that the other five Symphonies and the "Missa Solemnis" fill out 123 of the 330 pages.
He bears a message to the listener, which it is greatly to his interest to get at. The Mass in C depicts our innermost experiences. It has a mission and is not simply an end in itself. The Symphonist here shows his individuality as may be expected, since it was composed after Coriolanus, the first four symphonies, Fidelio.
"I have strength and courage." The old man is won over. He will ask the governor for permission to take Fidelio with him to the secret cells, for he is growing old, and death will soon claim him. In the trio which follows, the dialogue which has been outlined first intones a motif which speaks merely of complacency:
Here, at length, we do find something beyond what Ries and Schindler have recorded, no longer the close coincidence in matters of fact with Lenz; indeed, the account of the changes made in transforming the three-act "Leonore" into the two-act "Fidelio" we consider the best piece of historic writing in the volumes, the one which gives us the greatest number of new facts, and most clearly and chronologically arranged.
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