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Liberty is hard won, and comes with great costs.Īnd what about that charismatic and suave-voiced Don Fernando in his bespoke suit, a boom mike hovering over him wherever he went? Meted-out justice and punishment, might he be a shade too good to be true? Power, in this absorbing and morally complex Fidelio, needs to be carefully, warily watched.How To Never Miss a SF Opera Promo Code Sign Up For SF Opera Email Newslettersīy signing up for SF Opera email newsletters you will receive discounts and promo codes sent directly from SF Opera as soon as they are available. Freed from his shackles, Thomas’s Florestan still looked damaged and fragile, the specter of PTSD looming. Armed with gun or dagger, she and Pizzaro faced off, just as a distant trumpet signaled the approach of a judicious state official (bass Soloman Howard as Don Fernando).Įven as the singers and orchestra joined in a swelling celebration of Florestan’s freedom and his reunion with Leonore, this Fidelio never settled for simple verities. With Leonore revealing herself as Florestan’s savior, the stakes and musical tension quickly ratcheted up. Soloman Howard as Don Fernando, James Creswell as Rocco, Anne-Marie MacIntosh as Marzelline, Elza van den Heever as Leonore, Russell Thomas as Florestan in Beethoven's Fidelio | Credit: Cory Weaver/San Francisco OperaĪs the singers and orchestra made their way through the numerous, transparently layered ensembles in the score, the momentum accelerated in the second act. Here and again, more triumphantly in the second act, the San Francisco Opera Chorus, under outgoing director Ian Robertson, sang with cohesion and conviction. The first act closed with a movingly hushed chorus of briefly freed prisoners, awkwardly clumped as they were on the two-tiered set. But when she launched her vow to save her imprisoned husband’s life, her lustrous soprano rang out in gorgeously ascendant arches. Her flak jacket emblazoned with a giant SECURITY logo on the back, van den Heever was endearingly klutzy and vocally self-effacing in her male disguise. As Marzelline’s judicious-in-all-senses father, Rocco, bass James Creswell gave a firm and steadily expanding performance. With the orchestra consorting merrily along with them, Marzelline (Anne-Marie MacIntosh) rebuffed the hapless, would-be suitor Jaquino (Christopher Oglesby), preferring Fidelio (van den Heever’s Leonore in disguise). James Creswell as Rocco, Elza van den Heever as Leonore, and Greer Grimsley as Don Pizarro in Beethoven's Fidelio | Credit: Cory Weaver/San Francisco Opera
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