BEETHOVEN'S FIDELIO

There can be something rather unsatisfying about concert productions of opera rather than the full-blooded thing but having said that I have to add that I have seen a number of operas over the years performed in this way that I would not otherwise have seen and heard.
The operas are normally performed in this way in this part of the world because it is impossible to make economic sense of presenting a fully staged production.

And so it was with Beethoven's only opera, Fidelio, on Friday night at the Auckland Town Hall.

The almost full house was treated to a very fine concert performance indeed with the two leads, Swedish-American soprano Erika Sunnegardh in the role of Leonore, and London-based NZ tenor Simon O'Neill in the role of Florestan, having both played these roles on the world's leading opera stages. Sunnegardh played the same role at the Metropolitan Opera House, New York while O'Neill played his role very recently at London's Covent Garden.

These two international stars were backed up by a splendid cast with UK bass Andrew Greenan in the role of Rocco and former Napier soprano Madeleine Pierard in the role of Marzelline both turning in particularly impressive performances.

Then of course there was the always superb Chapman Tripp Opera Chorus whose powerful contributions were an important part of the overall very satisfying opera.

And our own Auckland Philharmonia which delivered that glorious Beethoven in a sublime manner, under the experienced baton of Maestro Jonas Alber.

But for my money the absolute standout star was Erika Sunnegardh. The role of Leonore is a huge one with her being on the stage for almost the whole opera. I was not at all surprised to read that her career has really taken off following her performance as Leonore less than two years ago at Metropolitan Opera. Since then she has appeared at the Met in The Magic Flute and Turandot and is now in high demand from opera houses around the world. Sadly for us this probably means we will not see her in New Zealand again.

She was ably supported on stage by Simon O'Neill. It is always good to have him back "home" and he never disappoints. He received a rousing welcome when he first appeared on stage.
An experienced opera singer said to me afterwards that it was wonderful to observe O'Neill's maturity as a singer and noted that no longer does he need to belt out Pavarotti-style Nessun Dorma arias but rather we can observe more of the subtle Heldentenor type delivery so common in the Wagner and other German repertoire in which he in tending to specialise.It is not surprising to read he has a very full calendar in these sorts of roles in some of the world's major opera houses in coming years.

So congratulations to all involved with assembling this cast, and delivering such a wonderful gala opera concert on a wintry Friday night in Auckland. Rather wonderfully the Auckland audience, normally a somewhat subdued lot, gave the production a standing ovation! And well-deserved it was too.

I went home afterwards and immediately played the CD version of Fidelio that I had bought at Parsons Bookshop in Lambton Quay the day before!

AND HERE IS ROGER HALL ON THE SAME SUBJECT

Why I love it in the front row.
Well, for a start I can stretch my legs..
Of course you miss some of the music, but ah! you get close to the drama of what's happening on stage... Live music should be a feast for the eyes as well as for the ears.
The orchestra enter, smile chat..or ignore each other.
A chance to have a good look at their shoes, since you are at eye level with them.
Ah, a male violinist enters, gives a female violinist a tiny squeeze of the shoulder as he takes his place. Hmmmmm.

Up close (two metres away) one could admire Erika Sunnergardh's glamorous glittering three-quarter length coat/jacket (not so impressive at a distance, I was told), Madeleine Pierard singing superbly, and her luscious outfit made her look like one of those women painted by John Singer Sergeant.
Erika sits calm and poised for a long time before she stands, sings (without a score), then returns, her hand gropes for the glass of water under her chair, a moment or two before she finds it...
The anticipatory Oooo when Simon O'Neill came on to the platform ("Local boy, is he?" asked the man next to me); Andrew Greenan who looked oh so European but turned out to be English.
Simon O'Neill's face was bathed in sweat , so much so that when the grateful Leonore put her face against his cheek, a moment or two later she discreetly had to wipe her brow.
The final bows, to be able to stand and almost whisper to them how wonderful they were. The bouquets and the bottles of wine (is this tacky, or is not? I can never make up my mind).
a truly great evening.

RH