BWW Reviews: Finding Oneself in FIDELIO

As one can imagine, an opera created by Ludwig van Beethoven is likely driven by intricate musicality. That assumption would be completely accurate as the plot is fairly simple and the characters are of common theatrical stock. Though these observations are true, Madison Opera's recent production of Fidelio - translated as the favorite child - is far from ordinary.

The tale of a woman named Leonore (portrayed heartily by soprano Alexandra LoBianco) disguises herself as a man, renames herself Fidelio, and becomes the right hand man of the jailer she believes is keeping her husband prisoner. Although warden Rocco (played by a captivating Matt Boehler) has not taken Leonore's husband Florestan into the prison by choice, he was placed there by the devious Don Pizarro. Leonore's determination to save her husband from certain death is driven by the kind of love that many only dream of - which makes Beethoven's 'favorite child' a tale of freedom and showing how love can truly conquer all.

With such versatile orchestral accompaniment, the musicians of the Wisconsin Symphony Orchestra had to be on point at all times. This production leaves as much importance, if not more, on the musicians as on the singers. Conductor John DeMain was a delight during the overtures and his guidance kept all of the performers on task.

What is truly remarkable about Fidelio on its own are the generous choral segments. The Madison Opera Chorus is one of the soundest bodies of performers this journalist has witnessed. All players, despite their number, were in sync. A hum of perfect synchronization made these men and women so fascinating to behold. Even in moments of downtime on stage, segments in a show that can lose the attention of chorus members who lose the moment, every member remained trapped in the life of their character.

Fidelio's loving couple Leonore and Florestan (played by LoBianco and Clay Hilley respectively), to quote the show itself, "brings love and power - satisfies your every desire". Though the show does not give the characters a vast timeframe to develop, LoBianco and Hilley are able to skillfully draw out the passion of their personas. The two, much like their fellow performers, play off of one another to make their interactions akin to a beautiful melody. LoBianco is given ample time to let Leonore grow through her incredible vocal power, her characterization would be nothing without this leading lady's undeniably breathtaking instrument. Her counterpart Hilley, on the other hand, is not provided stage time from the opera until act II, so his character has less time to shine - which is a shame because he is a phenomenal talent.

There is no doubt that Madison Opera is blessed. To have such incredible talent in every aspect of the production is a marvel. It is not in the nature of an article to highlight every performer and that understanding is difficult to accept with a cast such as this. Every individual who partook in the creation of this production deserves the standing ovation that met the opening night of Fidelio on November 21st. To every single one of you - bravo.

It is here that continuing the article becomes a challenge. Nothing is more tasking than discussing a show one applauded so readily. Though adding in many, many more appreciations to the company for such marvelous opportunity could be done, it seems fitting to refer back again to another line from the opera.

Though I am sad that this article will meet the eyes of readers after the final curtain of Fidelio, "my consolation is that I have done my duty."

Friday's standing ovation was just the beginning of the 54th season of the Madison Opera. That thunderous applause will undoubtedly roar many more times through Overture Hall as the season rolls on. And in anticipation of that continuation I say to all returning, and departing performers, "toi toi toi".

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