Fidelio partially resembles a singspiel, but also has a distinctly heroic character. Its finale celebrates the ideals of liberty, equality and fraternity amidst jubilation. Fidelio expresses Beethoven’s visionary belief that faith, love and hope of the individual may affect the larger picture – and even topple political systems.
Michael Schade sang his first Florestan in 2013 under the baton of Nikolaus Harnoncourt at the Theater an der Wien, followed by concert performances with Paavo Järvi and the NHK Symphony Orchestra in Tokyo or with Yannick Nézét-Séguin in Montréal together with the Orchestre Métropolitain. His interpretation of the role has matured over the past ten years – yet Schade remains convinced that Beethoven’s music has far more in common with Schubert than with Wagner. “In the spring days of life – the beginning of the aria, that sounds like a Schubert song,” thus Schade.
We look forward to his next concert performances of Beethoven’s Fidelio in June 2023, when he resumes the role with the Tonhalle Orchestra under the baton of Paavo Järvi.
Ludwig van Beethoven: «Fidelio» op. 72 (Fassung 1814)
Jacquelyn Wagner, soprano – Leonore
Michael Schade, tenor – Florestan
Christof Fischesser, bass – Rocco
Katharina Konradi, soprano – Marzelline
Patrick Grahl, tenor – Jaquino
Shenyang, bassbaritone – Don Pizarro
Jan Martinik, bass – Don Fernando
Peter Simonischek, narrator
Florian Helgath, chorus master
Ben Hurkmans, dramaturge
Eva Buchmann, concept & stage
Paavo Järvi, musical director
16. & 18. June 2023