작곡가

:   Ludwig van Beethoven (루트비히 판 베토벤)

장르

:  

Opera

스타일

:  

Opera

작곡년도

:   1804 - 1806

평균연주

:   120:38

악장

1

Overture

6:56

2

Act 1 : Jetzt, Schätzchen, jetzt sind wir allein

4:56

3

Act 1 : O wär ich schon mit dir vereint

4:20

4

Act 1 : Mir ist so wunderbar

4:55

5

Act 1 : Hat man nicht auch Gold beineben

3:24

6

Act 1 : Gut Söhnchen gut

6:11

7

Act 1 : March

2:15

8

Act 1 : Ha! Ha! Ha! welch ein Augenblick

3:20

9

Act 1 : Jetzt, Alter, jetzt hat es Eile!

4:52

10

Act 1 : Absheulicher! Wo eilst du hin?... Komm, Hoffnung, lab den letzten Stern

7:06

11

Act 1 : O welche Lust

7:18

12

Act 2 : Gott! welch Dunkel hier!... In des Lebens Frühlingstagen

8:45

13

Act 2 : Wie kalt ist es in...Nur hurtig fort, nur frisch gegraben!

4:59

14

Act 2 : Euch werde Lohn

6:34

15

Act 2 : Er sterbe!

4:31

16

Act 2 : O namenlose Freude!

3:01

17

Act 2 : Heil! Heil sei dem Tag

5:38

Fidelio (originally named Leonore, oder Der Triumph der ehelichen Liebe; English: Leonore, or The Triumph of Married Love), Op. 72, is a German opera with spoken dialogue by Ludwig van Beethoven, his only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly and the work premiered at Vienna's Theater an der Wien on 20 November 1805. The next year Stephan von Breuning helped shorten the three acts to two. After further work on the libretto by Georg Friedrich Treitschke a final version performed at the Kärntnertortheater on 23 May 1814. By convention both of the first two versions are referred to as Leonore. The opera tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison. Bouilly's scenario fits Beethoven's aesthetic and political outlook: a story of personal sacrifice, heroism and eventual triumph (the usual topics of Beethoven's "middle period") with its underlying struggle for liberty and justice mirroring contemporary political movements in Europe. Some notable moments in the opera include the "Prisoners' Chorus", an ode to freedom sung by a chorus of political prisoners, Florestan's vision of Leonore come as an angel to rescue him, and the scene in which the rescue finally takes place. The finale celebrates Leonore's bravery with alternating contributions of soloists and chorus.
Fidelio underwent two extensive revisions by Beethoven. Although he used the title Leonore, oder Der Triumph der ehelichen Liebe ("Leonore, or The Triumph of Married Love") the first performances were billed as Fidelio at the theatre's insistence, to avoid confusion with the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven). Beethoven published the 1806 libretto and, in 1810, a vocal score under the title Leonore, and the current convention is to use Leonore for both the 1805 (three-act) and 1806 (two-act) versions and Fidelio only for the final 1814 revision.

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