Fidelio is a Triumph at the Lyric Opera

Beethoven’s Fidelio at the Lyric Opera of Chicago is absolutely superb. The opera, Beethoven’s only foray into the genre, is renowned for its themes of justice, liberty, and the power of love. This production, conducted by the brilliant Enrique Mazzola, showcases the full depth of Beethoven’s genius, blending moments of intense emotion with orchestral brilliance all in support of a talented group of singers bringing the story to life. And it really, really makes you wish Beethoven had written more operas.

At its heart is the story of Leonore, who, disguised as a male prison guard named Fidelio, risks everything to rescue her husband, Florestan, from a tyrannical political prison, where he’s landed for exposing the corruption of the government. In this case, the prison is a two-story, futuristic, revolving set that cleverly allows both scene changes, but also resembles, I’m thinking intentionally, the promised migrant detention centers envisioned by Donald Trump. In its overcrowded cells are men, women and children, some in prison garb and just as many in street clothes.  The Lyric Opera’s superb chorus does an incredible job here portraying their fear and sadness.  The cruelty is obviously the point.

 The role of Leonore is taken on by the formidable soprano Elza van den Heever, whose performance is a masterclass in both vocal dexterity and emotional depth. Her rendition of “Abscheulicher!” was breathtaking, filled with passion and dramatic tension, perfectly conveying Leonore’s unwavering determination to save her beloved.

While we have to wait until the second act to see him, Russell Thomas as Florestan delivers a powerful  and pathetic performance, where his character is on the verge of despair after two years of torture. His aria “Gott! welch’ Dunkel hier!” is one of the most heart-wrenching moments of the opera, beautifully portraying Florestan’s isolation and suffering. Thomas’s tenor voice brings an incredible warmth and clarity to this difficult role, making his eventual reunion with Leonore all the more rewarding for the audience.

Brian Mulligan as the villainous Pizarro also shines, embodying the character’s cruelty and corruption as a perfect J.D. Vance lookalike down to the blue suit, red tie and beard. (He also actively encouraged booing him during the bows.) His commanding baritone voice adds a menacing presence to the production, particularly in his scenes opposite Rocco, the prison warden, played by Dimitry Ivashchenko. Ivashchenko’s rich bass and measured portrayal of Rocco bring complexity to a character torn between fear of reprisal, duty and morality.

The Prisoners’ Chorus, one of the opera’s most famous and stirring moments, is handled with delicate care by both the chorus and orchestra. Mazzola’s conducting brings out the poignant yearning for freedom in the prisoners’ voices, making the scene emotionally resonant. The Chicago Lyric Chorus deserves high praise for its cohesive sound and the emotional weight it brings to this pivotal moment in the opera.

My only gripe with this magnificent performance came in the scenes where Leonore and Rocco disarm Pizarro, as he is going to stab Floristan.  It was laughably slow and not even slightly a fight.  In a town full of terrific fight choreographers, it would be great if the Lyric would hire one once in a while to try to make conflict look more realistic.

Matthew Ozawa’s direction and Alexander V. Nichols’ modern and evocative set design allow the raw emotions of the story to take center stage. The starkness of the prison setting contrasts beautifully with the characters’ inner struggles and hopes. The harsh industrial-style lighting, with its cold, oppressive tones in the prison show off the impersonal yet calculatedly cruel design of the entire structure.  The way the set revolves while characters move from scene to scene allow the action to never stop, keeping the pace of the story moving as well. It’s immensely clever.

This Fidelio is a must-see, not only for its musical brilliance but for its timeless message of justice, resilience, and love. The performances are stellar, the direction inspired, and the score delivered with the passion and precision that Beethoven demands.  Though it’s a “rescue opera”, this modern interpretation means that it portrays themes that resonate even today and remind of those held unjustly in bondage.  This production of Fidelio leaves a lasting impression, reminding us of the power of art to reflect and inspire real-world ideals.

For opera lovers and newcomers alike, this production offers an unforgettable experience. Secure your tickets to witness this masterpiece at the Lyric Opera of Chicago before it closes on October 10—you won’t want to miss it.

All images by Todd Rosenberg.