What a magnificent production of Fidelio by Calixto Bieito. A director whose work can sometimes feel conceptually overbearing here finds an almost perfect balance between strong imagery and dramatic clarity. The staging is both striking and deeply musical, always serving Beethoven’s drama rather than imposing itself upon it. One particularly unforgettable moment comes during the quartet, when the singers appear suspended high above the stage in cages lowered from the flies before slowly rising again — a haunting image that perfectly captures the opera’s tension between confinement and hope.
Johanni van Oostrum offers a superb Leonore. Her voice combines warmth, firmness and an effortless musical line, allowing the character’s quiet determination to emerge with great naturalness. She never forces the drama, yet her presence anchors every scene she enters, and the emotional sincerity of her singing carries the role beautifully across the evening.
As Florestan, Benjamin Bruns rises impressively to the challenge of one of the most exposed entrances in the repertoire. His opening scene is sung with real intensity and clarity, the tenor remaining focused and lyrical even at the top of the voice. The portrayal balances vulnerability and heroic resolve, making his reunion scenes all the more moving.
René Pape is, quite simply, a magnificent Rocco. The authority of the voice is unmistakable, the bass resonating through the house with remarkable ease. Yet beyond the vocal grandeur, it is the humanity of the portrayal that stands out: his Rocco feels complex, pragmatic, and deeply believable.
As Pizarro, Josef Wagner brings exactly the dark energy the role demands. His baritone has bite and projection, cutting through the orchestral texture with ease, and he shapes the villain’s rage with impressive control. The confrontations carry real dramatic electricity.
Mirjam Mesak sings Marzelline with freshness and charm. Her bright, agile soprano suits the character perfectly and brings welcome lightness to the opening act, while her musical phrasing remains consistently elegant.
Caspar Singh gives Jaquino a lively and well-sung presence. The tenor projects easily and maintains a convincing dramatic energy throughout the role’s many interactions.
In the smaller roles, Alexander Grassauer lends Don Fernando a firm sense of authority, while the prisoners — Dafydd Jones and Paweł Horodyski — contribute effectively to the opera’s most poignant moments.
From the pit, Yoel Gamzou leads the orchestra with urgency and sweep, maintaining a strong dramatic pulse throughout the evening. The result is a performance where staging, voices and orchestra come together in rare harmony — a Fidelio that is not only visually striking, but deeply moving from beginning to end.
***
Conductor: Yoel Gamzou
Director: Calixto Bieito
Stage Designer: Rebecca Ringst
Costume Designer: Ingo Krügler
Lighting: Reinhard Traub
Assistant Choreographer: Heidi Aemisegger
Dramaturge: Andrea Schönhofer
Chorus Master: Christoph Heil
Cast
Don Fernando — Alexander Grassauer
Don Pizarro — Josef Wagner
Florestan — Benjamin Bruns
Leonore — Johanni van Oostrum
Rocco — René Pape
Marzelline — Mirjam Mesak
Jaquino — Caspar Singh
1st Prisoner — Dafydd Jones
2nd Prisoner — Paweł Horodyski
