<<  -- 8 --  Ted and Emi Norrish    DEVOTION AND HEROISM

The production of Act I continued in similar vein. The stage for most of the Act was dominated by an almost monumental staircase, sixteen steps high (leading to nowhere) and stretching three quarters of the way across the huge stage (together with the columns and wall). It was a setting that suggested the Alcazar rather than a dour state prison, and might have suited very well the lavish palace of Un Ballo in Maschera. After a short time it became uncomfortable and annoying to look at.

The biggest disappointment, however, was reserved for two of the most evocative scenes in all opera : the prisoners emerging from below to the light of day, and later sadly returning; and Florestan (Stephen Gould taking the role previously sung by Thomas Moser) at the beginning of Act 2 -- alone, starved and despairing in his dungeon. These poignant scenes are engraved on the mind of almost any opera-goer.

But on this occasion the prisoners (unlike good Victorian children) were 'heard but not seen' -- they could have even have been prerecorded. Even in a concert performance of Fidelio they can be seen -- and pitied. If this trend continues, the outlook is poor for Hebrew Slaves and Gypsies from Biscay! I cannot think of any good reason for this, and so much is lost.

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