「フィデリオ」の版間の差分

The prisoners and townsfolk sing to the day and hour of justice which has come (''Heil sei dem Tag!''). The minister, Don Fernando, announces that tyranny has ended. Rocco enters, with Leonore and Florestan, and he asks Don Fernando to help them (''Wohlan, so helfet! Helft den Armen!''). Rocco explains how Leonore disguised herself as Fidelio to save her husband. Marzelline is shocked. Rocco describes Pizarro's murder plot, and Pizarro is led away to prison. Florestan is released from his chains by Leonore, and the crowd sings the praises of Leonore, the loyal savior of her husband (''Wer ein holdes Weib errungen'').
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==評価==
『フィデリオ』は、ベートーヴェンびいきには好んで聴かれているが、オペラそのものが好きな聴衆はそれほど高く評価しているわけではい。というのも、ベートーヴェンは主要登場人物を誇張して描き英雄へと仕立て上げたが、それらの人物像は陰影に欠けた深みのないものに終始してしまっているのである。音楽は作曲者の中期の[[交響曲]]の様式によるが、それがときに話の流れを阻害してしまっている部分もある。したがって『フィデリオ』は、音楽としては偉大だがオペラとして見ると、単にオペラの形式を借りただけに過ぎないと言うこともできる。この点で、[[ヴォルフガング・アマデウス・モーツァルト|モーツァルト]]や[[ジュゼッペ・ヴェルディ|ヴェルディ]]のオペラのような、総合芸術として成功している作品よりもやや劣ると見なされる。
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Conductor [[Wilhelm Furtwängler]] alludes to these general points in remarks he made in [[Salzburg]] in [[1948]], not long after the end of World War II and fall of [[Nazi]]sm:
 
:"[T]he conjugal love of Leonore appears, to the modern individual armed with realism and psychology, irremediably abstract and theoretical.... Now that political events in Germany have restored to the concepts of human dignity and liberty their original significance, this is the opera which, thanks to the music of Beethoven, gives us comfort and courage.... Certainly, ''Fidelio'' is not an opera in the sense we are used to, nor is Beethoven a musician for the theater, or a [[dramaturgy|dramaturgist]]. He is quite a bit more, a whole musician, and beyond that, a saint and a visionary. That which disturbs us is not a material effect, nor the fact of the 'imprisonment'; any film could create the same effect. No, it is the music, it is Beethoven himself. It is this 'nostalgia of liberty' he feels, or better, makes us feel; this is what moves us to tears. His ''Fidelio'' has more of the [[Mass (music)|Mass]] than of the Opera to it; the sentiments it expresses come from the sphere of the sacred, and preach a 'religion of humanity' which we never found so beautiful or necessary as we do today, after all we have lived through. Herein lies the singular power of this unique opera.... Independent of any historical consideration ... the flaming message of ''Fidelio'' touches deeply.
 
:"We realize that for we Europeans, as for all men, this music will always represent an appeal to our conscience."
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==外部リンク==
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