Beethoven's 'Fidelio' rivets in rare outing

In the title role of Beethoven’s opera “Fidelio,” soprano Christine Goerke sang movingly of a wife’s love for her imprisoned husband. It was an unforgettable moment, sung in tandem with the French horns of the orchestra.

Her great aria of hope was followed by yet another brilliant stroke: The Prisoners’ Chorus, a hymn to freedom sung by bedraggled inmates as they emerged from darkness to light, for a brief gasp of fresh air.

Those scenes, and many others from Cincinnati Opera’s performance of Beethoven’s only opera on Thursday, made one wonder why it isn’t performed more often. Not mounted by the company since 1980, it was a rare joy to revisit “Fidelio.” A superb cast, Beethoven’s sublime musical score and inventive staging by Chris Alexander made for a riveting evening.

The updated production, designed by Robert Dahlstrom for Seattle Opera, brought to the fore the opera’s universal ideals of courage in the face of oppression. The heroine of Beethoven’s opera is Leonore, whose husband, Florestan, is a political prisoner under the evil prison governor Don Pizarro. In order to rescue him, Leonore disguises herself as a man named Fidelio and takes a job as the assistant to the jailer, Rocco.

Goerke delivered a deeply affecting performance in the “pants” role of Leonore. Her gleaming soprano was an asset in Beethoven’s wonderful ensembles, particularly the enchanting “canon” quartet in Act I. Her great scene – “Abscheulicher!” (Monster!), in which she rips off her cap revealing her womanhood – was taut with rage. Her ensuing aria, “”Komm, Hoffnung” (“Come, Hope”) contrasted for the depth of feeling and warmth that she communicated. As she concluded on a triumphant high note, the audience approved with a lengthy ovation.

Russell Thomas was an excellent vocal match in the role of the wrongfully imprisoned Florestan. He unleashed a tenor of formidable power as he cried out “Gott!” (“God”), singing like a force of nature before collapsing into a fetal position on the prison floor. Equally gripping was the terrific baritone Nmon Ford, who embodied the evil Pizarro with wicked abandon. His anger was palpable as he declared his plan for vengeance, and his presence electrified whenever he was on the stage.

There was also the very human, compassionate Rocco, the chief jailer, of Nathan Stark. He was consistently believable as he argued against the job he was assigned. There were lighter moments, too. Rocco's daughter, Marzelline, performed with charm and a big voice by Laura Tatulescu, and her frustrated suitor, Jaquino, well-sung by Thomas Blondelle, had the audience chuckling out loud.

The chorus, prepared by Henri Venanzi, was excellent, whether singing as prison guards or their prisoners.

Best of all was Beethoven’s sublime score, beautifully played by the Cincinnati Symphony Orchestra under the direction of Jun Märkl, in his company debut. The “Fidelio” Overture (one of four Beethoven wrote for this opera) was a masterpiece in itself. The conductor balanced its vibrant power and refined melodies as searchlights played on the stage. Tempos were well-judged and Märkl allowed the music to breathe. Just once or twice were there small ensemble problems between stage and pit, perhaps due to the less familiar acoustics in the Aronoff Center.

Trumpets from the balcony announced the arrival of the politician-like minister, Don Fernando, well performed by Daniel Sutin, whose entrance was recorded by television cameras and reporters. In the end, family members and just-released prisoners joyfully populated the stage waving a large flag proclaiming “Freiheit” ("Freedom") and singing a grand chorus that looks ahead to another inspiring chorus, in the finale of Beethoven’s Ninth.

Cincinnati Opera’s “Fidelio” repeats at 7:30 p.m. Saturday July 9 in Procter & Gamble Hall, The Aronoff Center, Downtown. Tickets: 513-241-2742, my.cincinnatiopera.org; also at Aronoff Center Box Office.