Beethoven and more 2011 podcast #40: Unusual ensemble
October 14, 2011
Ludwig van Beethoven
Quartet canon "Mir ist so wunderbar" from the opera "Fidelio," op. 72
Alice Foccroulle, soprano
Isabel Dürr, soprano
Michael Mogl, tenor
Ralf Rhiel, bass
Concerto Köln
Conductor: Ivor Bolton
MP3 recorded on October 7, 2011 in the Beethoven Halle Bonn by Deutsche Welle (DW)
One concert at the Beethovenfest was a one-to-one reconstruction of the event organized by conductor and pianist Franz Liszt in August 1845 on the occasion of the unveiling of the Beethoven statue in Bonn and the first-ever Beethovenfest. Concert life was quite different in the 19th century. The "academies" (as concerts were called then) were between four and five hours long, with several intermissions, entertaining the public with a colorful mix of symphonies, chamber music and vocal pieces. The Bonn public of the present day was up to the challenge.
Among various vocal works, Franz Liszt chose the quartet canon from "Fidelio." The opera is as famous as it is controversial. It's often said that Beethoven failed as an operatic composer. But take a closer look at the quartet: Marzelline expresses her love for Leonore, disguised as a man. Rocco, her father, seems satisfied with his daughter's emotional state. Leonore herself is appalled, and Jaquino, himself in love with Marzelline, jealous. Can such varying feelings be expressed with one and the same melody? Proof of Beethoven's lack of theatrical expertise, or does the music speak a wisdom that the plot does not?
No one disputes, however, that this canon is a jewel within a masterpiece.
Author: Anastassia Boutsko
Editor: Rick Fulker