Review: FIDELIO at Kennedy Center

The Washington National Opera’s production of Beethoven’s Fidelio is a triumph of elegant, efficient style and directorial finesse. Director Francesca Zambello re-invigorates the somewhat uninspired libretto by Joesph Von Sonnleithner with a vigor and intelligence that envelops this tale of valor, commitment, courage, and conscience.

Beethoven’s only opera (amidst an obvious immense body of work), the glory of this opera is the gorgeous music. Director Zambello wisely lets the music shine under the sensitive conducting of conductor and music director designate Robert Spano.  Mr. Spano’s expert conducting of the Washington National Opera Orchestra enhanced the personal and political threads of this opera ----threads that are intertwined with meticulous delineation by director Zambello.

The personal story of the character of Leonore (who is most often seen in the guise of Fidelio who is dressed as a young man---the beautifully calibrated voice of Sinéad Campbell Wallace is a pleasure) and political oppression are intertwined as “Fidelio” searches for her imprisoned husband Florestan (the superbly expressive and dramatic tenor of Jamez McCorkle). McCorkle’s Florestan has been imprisoned unjustly by the oppressive regime of Pizarro (bass-baritone Derek Walton) until Florestan is freed and the oppressive regime comes to a long-awaited end.

Sinéad Campbell Wallace’s breathtaking and highly expressive soprano is “tailor -fit” for the role of Leonore/Fidelio. Ms. Campbell Wallace has a charming stage presence that dominates the stage naturally without ostentation or showy antics. From the gamut of more dramatic arias such as, in her desire to rescue Florestan from the cruel Pizarro (Aria:  Abscheulicher! Wo eilst du hin? --“Monster! Where are you off to so fast?”) to some understated dryly comic and enthusiastic moments, Ms. Campbell Wallace conveys the courage of a woman who is pivotal in rescuing her husband while engaging the audience with a nicely modulated “wink of the eye” in her gender-bending role.

Ms. Campbell Wallace’s love duet with Mr. McCorkle (Aria: O namenlose Freude! ---“O unnamed joy!”) was joyous and thrilling in vocal effect.

James McCorkle’s Florestan was sung with an expressive tenor voice that was captivating yet full of gloomy depth as he sang of his despair in prison (Aria: Gott! Welch Dunkel hier!—“God! What Darkness here”). Mr. McCorkle’s stage presence was magnetic and powerful.

Derek Walton as the cruel oppressor Pizarro is viscerally forceful on stage as appropriate for his role. Mr. Walton’s resonant and textured bass-baritone was moving and full of vitriol as he sings of having Florestan murdered (Aria: Ha, welch ein Augenblick—“Ha! What a moment!”).

David Leigh possessed a resonant bass as the pragmatic Rocco. Mr. Leigh’s characterization of a loving father coping with survival between the demands of his challenging occupation and a world full of oppression was highly memorable.

Acclaimed mezzo-soprano Denyce Graves is a welcome delight in the role that was renamed the Prime Minister to show further inclusivity of women in prime roles. This popular and legendary opera star lent iconic presence to this small but absolutely pivotal role ---as her character represents the salvation and redemption of her oppressed country.

Tiffany Choe’s soprano was beguiling as she portrayed the character of Marzelline. Ms. Choe was totally enchanting in what could easily be a less than intriguing role if not sung with warmth and texture. Ms. Choe’s acting style engendered a tender and bemused tone at the same time.

Sahel Salam’s tenor is well-suited to the role of Jaquin---the suitor who longs to marry Marzelline.

As the prisoners are led back to their cells after a brief respite of sunshine and fresh air I was tremendously moved as the prisoners sang (Chorus: Leb wohl, du warmes Sonnenlicht—"Farewell you warm sunshine”) in a melancholy mood. Group scenes with the prisoners are particularly well staged.

Another moving moment was the optic of Ms. Campbell Wallace standing alone on the stage as snow started to fall at the ending of act one (A moment of pure poetic delicacy). Perhaps this visual touch was to portray a glimmer of hope and change amidst the grief?

The set design by Erhard Rom was appropriately stark and imposing with the lower stage space showing prison walls and officious office spaces while the upper stage space added dimension with a very expansive catwalk that often-showed prison guards standing watch over the prisoners. The lower stage space effectively transported the audience to the interior of an office as well as the prison cell of Florestan.

The lighting design by Jane Cox is beautifully delineated as the sunshine alternately floods the prison courtyard or darkens the prison cell of Florestan.

A statement from the United Nations’ Universal Declaration of Human Rights is projected onstage as the audience enters to immediately draw the audience into the fight for humanity espoused throughout the opera; Beethoven was one of the leading composers of the Enlightenment and he believed in democracy.

Director Zambello effectively reinforces the fascist, oppressive nature of the regime active throughout the play (it could be any oppressive regime, but it often reminded me of Nazi Germany or Stalinist oppression)—the genius of the production is it does not specify what oppressive regime it is and thus, the audience can draw its own parallels. Impressively interwoven video projections with dire headlines from outside media by S. Katy Tucker draw us into the microcosm that constitutes hatred and oppression.

The Washington National Opera Chorus under the direction of Chorus master Steven Gathman was exceptional in all aspects.

Director Zambello always adds her unique gifts and signature touches to enliven any libretto-- and she certainly has done so here; the stage movement is creative and enlivens the libretto and the feminist empowerment themes (that are often a hallmark of director Zambello and always very welcome) are assimilated without stridency.

This Fidelio overcomes its libretto, is performed impeccably and is highly relevant in our polarized and war-torn climate. This Washington National Opera production will be welcomed by anyone who appreciates directorial finesse, breathtaking operatic vocals, and an urgent anti-fascist theme.

Running Time: One Hour and 53 minutes, plus one 25-minute intermission

Fidelio is presented by the Washington National Opera on October 29, 2024, at 7:30 p.m., October 31 at 7:30p.m., November 2, 2024, at 7:00 pm and on November 4, 2024, at 7:00 pm at the Kennedy Center located at 2700 F Street NW, Washington, DC, 20566.

Photo credit: Sinead Campbell Wallace and the ensemble of Washington National Opera's production of Fidelio. Photo by Cory Weaver.

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