Fidelio

It would not be able to do that if it had been cut.

So the Fidelio scene where he writes on the napkin, that's exactly at one hour.

This there's many hints of like one hour and he's looking at his watch in the bathroom scene, you know, Ziegler.

And so, and then you see when, when the things are juxt, when the movies are juxtaposed, you can see the correlation between Alice and Lili Sobieski, for example, in the, in the, the rainbow room, you know? Um, and then later Mandy also exactly one hour after that, Mandy is dead on a slab.

Um, uh so the moment he's meeting millich is the moment he's meeting uh ziggler and ziggler's saying top man in new york you know and and then millich says i am yes and it's like they talk to each other like the way the dialogue goes it's so synced perfectly uh if people want to see that they can look up the fidelio

i'll tell

them what to look up uh they can look up the They can look up the Fidelio experiment, which is on my page, onegreatworknetwork.com slash Sean hyphen McCann.

And the Fidelio experiment is where I layer Eyes Wide Shut on three different screens, segmented one hour exactly apart from each other.

conversation.

Beethoven? Like you've sang his leader or you're talking about like Fidelio or something.

Both opera, well, operatic, concert, and art song.

I could leave it.

The same goes with directors.

And I have my Fidelio with Peter Stein.

No, sorry.

Not with Peter Stein.

Are

you talking about the Fidelio you did at the Met?

Yes.

Flim.

So while we may lament that there's no studio Aida, no studio Trovatore, no studio Ernani, live recordings of those form important supplements to her recorded legacy.

And she didn't just record operatic repertoire either.

We heard that Fauré Requiem at the beginning, and in 1965, she participated in a recording with Thomas Schippers leading the New York Philharmonic of a piece of juvenilia by Ludwig van Beethoven, the Cantata on the Death of Emperor Joseph II.

Originally, this piece was set to a German text by Severin Anton Averdonk, and for some reason, Schippers chose to perform it in a Latin translation.

Che dolce, oh, gioia celeste è dono, il tuo perdono al mio pentir.

S'invan le folgor mi pone il destino, se a te vicina potrò, ah, potrò morir.

In 1967, Martina appeared live at the Concertgebouw in Amsterdam in a concert which featured her in numerous operatic arias with which she was not usually associated.

From that very concert, which took place on the 20th of July, I'm going to play two of those arias.

The conclusion of his creative labors was to be a setting of Goethe's Faust.

Except Fidelio, however, he gave us no opera.

His songs are not many, although he sought carefully for appropriate texts.

Unhappily, the gift of poetry was not how shaped him.

Lend sublimity to my loftiest thoughts.

Bring to them truths that shall live forever.

Diary 1814, while working on Fidelio.

254.

This German musical genius created numerous works that are firmly entrenched in the repertoire.

Except for a weakness in composing vocal and operatic music, to which he himself admitted, notwithstanding a few vocal works like the opera Fidelio and the song Adelaide, Beethoven had complete mastery of the art form.

He left his stamp in nine symphonies, five piano concertos, ten violin sonatas, thirty-two piano sonatas, numerous string quartets, and dozens of other key works.

Many of his works are ingeniously imaginative and innovative, such as his third symphony, the Eroica, his ninth violin sonata, the Kreutzer, his Waldstein piano sonata, his fourth and fifth piano concertos, or his Grosse Fuga for string quartet.

It will not submit to the mold of flattery.

Conversation book, March 1820.

When Baron von Braun expressed the opinion that the opera Fidelio would eventually win the enthusiasm of the upper tiers, Beethoven said, "I do not write for the galleries." He never permitted himself to be persuaded to make concessions to the taste of the masses.

Three, continue to translate yourself to the heaven of art.

They were looking for a new director.

Um, and I went out to do Fidelio with Christoph Eschenbach, and they had only just recorded it with Sir George Solti.

And I'd heard the recording, and it was completely fantastic.

The choir was two hundred strong, a hundred professionals and a hundred amateurs, all auditioned every other year.

This is not the first time an orchestra has been paired with an offstage soloist.

It definitely happened a lot in opera, and Beethoven famously featured offstage trumpet calls in two of his overtures for Fidelio.

But this is the first time we have this effect in an important symphony.

It won't be the last time, though.