Yesterday, the radio opera was Beethoven’s “Fidelio.” You are welcome to skip the details, although I hope you’ll give it a chance – I am going into more detail than usual, because Beethoven was one of us. I don’t suppose he would be thought progressive today, but in his day he was as progressive as they came, and loud about it. Like pretty much all the progressives of the day, he was fooled for a while by Napoleon – they all thought “the enemy of my enemy is my friend” – until he wasn’t. But this opera is our opera – all about political corruption and the courage to oppose and expose it. Here’s the story: Leonora (Eleanor in English) Florestan is a young (or youngish) woman whose husband disappeared two years ago, shortly after attempting to expose the corruption of the “governor” of a political prison named Pizarro. She has tried and failed to learn anything about hos whereabouts. In desperation, she disguises herself as a young man and applies for a n apprentice warden job at the prison governed by Pizarro, under the alias “Fidelio.” She is a bright, intelligent, conscientious worker, and makes excellent impressions on the warden, Rocco, and also on his daughter, Marcellina, who is ready to throw over her previous suitor, Jaquino, to marry “him,” and Rocco supports Fidelio as a suitor. (This leads to a comic quartet.) Fidelio changes the subject by offering to help Rocco in his duties in the dungeon. Rocco’s response make her almost positive her husband is there. Everyone leaves but Rocco, and Pizarro arrives. Rocco tells him that his (Pizarro’s) boss, the minister (cabinet member) plans a surprise inspection the next day. Pizarro orders Rocco to murder and bury Florestan, who is a close friend of the minister. He also orders that a trumpet be sounded at the minister’s arrival. Rocco refuses to do the murder, but agrees to dig the grave. Pizarro will do the murder himself. Fidelio has come back close enough to overhear the plot, although not soon enough to be 100% sure it’s Florestan they are talking about With Marcellina’s help, she persuades Rocco to let the prisoners out into the garden for a while (her real motivation is in case she’s wrong and Florestan is not in the dungeon, she might see him among the other prisoners), and a touching chorus ensues. It’s on the short side, for fear Pizarro might hear them. Pizarro does hear and demands an explanation. Rocco says they were given a little outdoor time in honor of the King’s name day. Pizarro grants permission for Fidelio to marry Marcellina and also to help Rocco in the dungeons. The prisoners are locked up again as the act ends. Act II begins with a long aria (technically a “scena”) by Florestan – his trust in God, his love of Eleanor, a fantasy that she comes to save him, and then more or less hallucinates being free. Finally he collapses and falls asleep. Fidelio and Rocco enter and start digging the grave. Florestan wakes up, and she recognizes him (his voice, actually), but he doesn’t yet recognize her. He learns that the prison he is in is governed by Pizarro, and realizing he’s doomed, asks to send a message to his wife, but is turned down. He begs for water, and Fidelio is allowed to give him some, She then begs to be allowed to give him a crust of bread and is granted permission. Rocco gives the signal to Pizarro that the grave is ready and Fidelio is told to leave, but hides instead. Pizarro pulls out a knife to kill Florestan, but Leonora jumps between them, saying “First kill his wife!” revealing her true identity. She pulls out a gun, which stymies Pizarro, and just then the trumpet is heard. Pizarro and Rocco leave, Florestan says “Leonora! What have you done for me?” to which she replies, “Nothing, my Florestan, nothing.” Whereupon they have a love duet. The scene changes –
everyone is now out of the dungeon, the minister is there, and the whole plot comes out. Florestan is freed and Pizarro is imprisoned. All the other prisoners are also freed. The chorus sings about how lucky a man is who has a good wife, and all are happy, except Marcellina and of course Pizarro.
This is of course still up in the air (or I hope it is – I think we would have heard if had passed), but the 19th gives background not just on the measure but on co-sponsors Pettersen and Luna (and even though it would have been really hypocritical for her not to co-sponsor this after her own experience, I have to give her credit for co-sponsoring it.)
OK, I admit this is anything but good news. But Robert Reich‘s sharing of his memories is so sweet, and even downright funny in spots, that at least it’s not depressing
