* Notes *
Peter Mussbach's production of Fidelio, which premiered at Bayerische Staatsoper in 1999, is infuriating and yet strangely dull. The set is boring, despite the many scene changes. It was also rather loud, the scrims made all sorts of sounds as they banged against the stage and a certain metal door squealed when opened or closed. There were bizarre choices of when have the curtain down, as in the middle "O welche Lust" and during the Overture to Leonore No. 3, which was placed, as it sometimes is, between Florestan and Leonore's duet and "Heil sei dem Tag!" The choreography was simply stupid, why have Marzelline spin around in joy and then grab the wall or have everyone space themselves neatly like sculptures on a staircase?
The costumes, by Andrea Schmidt-Futterer, are likewise unexciting, lots of white and grey, though at some point Jaquino wore a skirt for just one scene. Certainly the most annoying part of the production is Konrad Lindenberg's lighting, or rather, lack thereof. The faces of the singers were perpetually in shadow, which dampened their dramatic force. Ridiculously, the rest of the stage was lit well, so one could see a staircase, or a heater, or a pile of dirt perfectly clearly.
Christof Prick's conducting was not inspired, the horns sounded off in the overture of Act I, and generally it seemed somewhat slow. The chorus sounded rather strange in the last scene, for they were placed in rows beneath the principal singers. Waltraud Meier was at least reasonable visually in the title role, but vocally she was brittle and out of tune. Robert Dean Smith was somewhat reedy as Florestan. The rest of the cast was fine, certainly best was René Pape's Rocco. His voice has good volume but is also nuanced. Martin Gantner sang the small role of Don Fernando, and as usual was not unpleasant.
* Tattling *
The audience distinctly less well-behaved than at Parsifal, though, at least, there was no late seating. There was whispering throughout, a chief offender on the orchestra level was in Row 17 Seat 696. This white-haired fellow also turned some sort of device on during the overture, for his face was bathed in a blue light for a few seconds. A person to his left peered over at him, confused by the visual disturbance. There were also two beeps during Act I, at least one was during an interlude in which Florestan and Leonore's voices are heard, but there is no music.