Fidelio
| Work data | |
|---|---|
| Original title: | Fidelio |
Notice for the premiere on May 23, 1814 in the Kärntnertortheater |
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| Shape: | Number opera with spoken dialogues |
| Original language: | German |
| Music: | Ludwig van Beethoven |
| Libretto : | Sonnleithner, from Breuning, Treitschke |
| Premiere: | November 20, 1805 |
| Place of premiere: | Theater an der Wien , Vienna |
| Playing time: | approx. 2 ½ hours |
| Place and time of the action: | State prison near Seville , 18th century |
| people | |
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Fidelio is the only opera by Ludwig van Beethoven in two - or in the original version under the title Leonore three - acts . The libretto wrote Joseph Sonnleithner , Stephan von Breuning and Georg Friedrich Treitschke ; They were based on the opera Léonore, ou L'amour conjugal (1798; libretto: Jean Nicolas Bouilly , music: Pierre Gaveaux ). The first performance of the first version of Fidelio took place on November 20, 1805 at the Theater an der Wieninstead, that of the second version there on March 29, 1806, the final version on May 23, 1814 in the Vienna Kärntnertortheater .
Bouilly's libretto was also the basis for Ferdinando Paër's opera Leonora (1804) and for Simon Mayr's work L'amor coniugale (1805). The name Fidelio is borrowed from Shakespeare's romance Cymbeline , where the king's daughter Imogen also takes on the name Fidelio in men's clothes. As in Beethoven's opera, this descriptive name alludes to her unshakable loyalty (lat. "Fidelis"), as she remains loyal to her husband Posthumus despite his banishment by her father against all odds.
action
prehistory
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The Spanish nobleman Florestan has been missing for over two years, he is believed to be dead. His wife Leonore rightly suspects, however, that he is being illegally imprisoned by his adversary Don Pizarro in the state prison over which he is in charge. Before he disappeared, Florestan had been on the verge of exposing Pizarro's evil machinations. At least half a year before the actual plot began, Leonore, disguised as a boy under the name Fidelio, smuggled into the jailer Rocco. Rocco's daughter Marzelline has fallen in love with Fidelio and turned away from her former favorite Jaquino, the jailer of the prison.
The real action takes place over the course of a single day in prison.
first act
Jaquino, in love, urges Marzelline to marry him. She rejects him because she has chosen Fidelio. Jaquino does not give up hope completely ( duet now, darling, now we are alone ). Marzelline dreams of her future marital happiness with Fidelio ( Aria O I would have been united with you ). Leonore alias Fidelio returns exhausted from various errands that she has done for Rocco. He greatly praises her for her efficiency, and interprets her obvious efforts to please him as an interest in Marzelline. The connection between Marzelline and Fidelio seems sealed. Marzelline is happy about it, Rocco is happy, Leonore, on the other hand, is deeply worried, Jaquino angry and hurt (Quartet Mir is so wonderful ). Rocco announces that Marzelline and Fidelio are to be married in a few days. He makes it clear to the young couple that in addition to love, financial prosperity is also important for a happy marriage (Arie Didn't you also have gold legs ). Leonore reproaches Rocco for still not trusting her and therefore not putting her in the secret dungeonsleave (where she suspects her husband). Rocco agrees to ask Pizarro's permission to take her there. He does not believe, however, that he will be allowed to take her to a certain prisoner who sits in the deepest dungeon. He indicates that he will probably not live much longer, as he has been receiving less and less food and water on Pizarro's orders for some time, so that he is now close to starvation. Leonore assures that she has enough courage and strength to endure the bad things that she will see in the dungeons. Marzelline promises to support her with her love ( Terzett Gut, Söhnchen, gut). Pizarro's soldiers march up, and then he himself appears. In one of the letters that Rocco gives him, he is warned that the minister Don Fernando is planning a surprise inspection of the prison because he has learned that there are victims of arbitrary violence there. It is expected to arrive on the same day. Pizarro realizes that he has to act quickly to save his skin. He decides to kill Florestan so that the minister won't find him (aria with chorus Ha! What a moment!). Pizarro sends a trumpeter to the lookout tower, who is supposed to give a signal as soon as the minister approaches. Then he offers Rocco a lot of money to kill Florestan. It becomes clear that this is the starving prisoner in the deepest dungeon. Rocco refuses to commit the murder, so Pizarro instructs him to dig a grave in a disused cistern adjacent to Florestan's dungeon. As soon as he's done with it, Pizarro wants to come downstairs and do the deed himself (Duet now, old man, now it's in a hurry!). Leonore has overheard enough of the conversation to realize that Pizarro is up to evil. She prays for a happy ending and reaffirms her determination not to give up until she has found and saved her husband ( recitative and aria Disgusting! Where are you rushing to? / Come on, hope, leave the last star). She asks Rocco to let the prisoners out into the daylight, but does not recognize her husband among them. Rocco returns from another interview with Pizarro. He has agreed that Leonore can accompany Rocco to the dungeon. Her delight turns to horror when she learns that she is supposed to help dig the grave of someone who is still alive in preparation for his murder. Because of her emotional reaction, Rocco prefers to go alone, but Leonore insists on coming along. She must be certain of the prisoner's identity. Marzelline and Jaquino run up in great excitement, followed by Pizarro. This is beside himself with anger over Rocco's arbitrariness to let the prisoners outside. Rocco reassures Pizarro and the prisoners have to return to their cells.Finale O what pleasure, in the open air / Now speak, how did you go? / Oh, father, hurry! / Reckless old man, what rights / Farewell, you warm sunlight ).
Second act
In his underground dungeon alone, Florestan laments his harsh fate, which he accepts as a divine test. In a feverish vision he believes he is seeing an angel resembling Leonore who leads him to freedom in the heavenly realm (orchestral prelude, recitative and aria God! What a dark here! O horrific silence. / In life's spring days ). He collapses and falls asleep. Leonore and Rocco appear to dig the grave. While they are working, Leonore tries to see the prisoner's face, but fails. She resolves to save him in any case, even if he shouldn't be her husband ( melodrama and duetHow cold it is in this underground vault! / Only go quickly, only freshly dug, ). When they almost finished their work, Florestan wakes up. Rocco sends Leonore away to speak to him alone. But she listens and recognizes her husband by his voice. This is also supported by the content of the conversation. Emotionally troubled, she hardly manages to hold on to herself. Rocco gives the prisoner something to drink, later he allows Leonore to give him a piece of bread that she happens to have with her. Florestan thanks them profusely (trio you will be rewarded in better worlds ). Pizarro appears to kill Florestan. When he was with a daggerwants to stab his victim, Leonore throws himself in between, reveals himself to be Florestan's wife and threatens Pizarro. He is now determined to kill both of them. Only when Leonore points a pistol at him does he back away. At this very moment, the sound of a trumpet announces the arrival of the minister. Pizarro has to go upstairs with Rocco to greet him (Quartet He dies! - But he should know first / The hour of vengeance has come! ). Florestan and Leonore sink into each other's arms (duet O nameless joy! ).
The minister is greeted enthusiastically by the crowd of people and prisoners on the parade ground . He explains that he came in the name of the king to end the injustice. Rocco leads Florestan and Leonore to him and reports what happened. Fernando is shocked to see his friend Florestan, who was believed dead, under such circumstances. He is even more impressed when he hears Leonore's story. The dungeons are opened; all prisoners are free. Leonore himself is allowed to free Florestan from his chains. He and all the others sing their highest praise (final salvation be to the day, salvation be to the hour / Well, so help! Help the poor! / You closed the noble grave / Who won a lovely wife ).
layout
music
Fidelio is a number opera with spoken dialogue. This character emerges particularly clearly in the first scenes in which the petty-bourgeois world around jailer Rocco is described. (In modern performances, however, the dialogues are often greatly shortened.) The arias and duets Roccos, Marzellines and Jaquinos in the first act sound song-like, simple and apparently cheerful. The quartet they sing with Leonore is a musical highlight of the opera. The first act also features one of the most famous and poignant scenes in opera history, the prisoner's choir.
In the scene in which Fidelio and Rocco dig Florestan's grave, the two of them talk while the orchestra provides musical accompaniment and at the same time explains it. This is known as melodrama . The music that sounds during the internal plot about Leonore and Florestan is noticeably dominated by Beethoven's symphonic spirit, whereby he paid little attention to the peculiarity of the human voice. This sometimes creates great difficulties for the singers. After the opening scenes, the orchestral background becomes increasingly garish and excited (especially in Pizarro's aria of revenge and in the duet between Pizarro and Rocco). The two great arias by Leonore (Act I) and Florestan (Act II) are preceded by longer recitatives .
The introduction of the contrabassoon into the opera orchestra, which also takes on solo roles (grave duet), is remarkable.
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : flute piccolo , two flutes , two oboes , two clarinets , two bassoons , contrabassoon
- Brass : four horns , two trumpets , two (in the 1st and 2nd version three) trombones
- Timpani
- Strings
- Incidental music : trumpet
The overtures
Beethoven wrote a total of four overtures for the opera, the first three of which are known as the Leonore overtures.
- The Leonoren Overture No. 1 op. 138 was written in 1806/07 for a performance of the second version of the opera planned in Prague in 1808 , which however did not materialize. It was published by Tobias Haslinger in Vienna in 1838 .
- The Leonoren Overture No. 2 op. 72a is actually the first, written in 1804/05 for the original version of the opera. It was first printed in 1842/43 by Breitkopf & Härtel in Leipzig , initially in a revised version.
- The Leonore Overture no. 3 op. 72b Beethoven wrote early in 1806 for the Vienna premiere of the second version of the opera. It was published by Breitkopf & Härtel as early as July 1810. It soon established itself as one of Beethoven's most famous works and was often played in concert, especially since it goes beyond the standards of contemporary opera overtures in its drama and musical radicalism. The practice of using Overture No. 3 as an interlude in the second act of the opera goes back to Gustav Mahler .
- For the third, final version of the opera, Beethoven wrote the fourth, short Fidelio overture in 1814 .
Work history
Genre Liberation Opera and historical background
Beethoven's opera is based on a commission from Peter Freiherr von Braun (1758–1819), who was the director of the Theater an der Wien at the time. Beethoven's original idea was to work on a model by Emanuel Schikaneder , Vestas Feuer . But finally he decided to start a “ rescue and liberation opera“To write, as she celebrated great successes in France and elsewhere at the end of the 18th and also at the beginning of the 19th century. In it Beethoven saw the possibility of expressing the anti-tyranny principles of political freedom, justice and brotherhood by rescuing an innocent hero from dire need. Jean Nicolas Bouilly's libretto for the opera Léonore, ou L'amour conjugal , on which Beethoven's Fidelio is based, was supposedly based on the true story of a Madame de Tourraine who disguised her husband from the captivity of the Jacobins as a manexempted in Tours. That the lawyer Bouilly in the service of the Jacobin revolutionary government was once a tool of political justice during the “ Terreur"And sentenced to death in Tours, gives Fidelio a paradoxical aspect of belonging to the genre of rescue or liberation opera: both before and during the revolution, Bouilly opportunistically served the respective system to promote his career:" At the end of 1793, Bouilly became Public Prosecutor of the District and, finally, President of the Tours Military Commission. As the equivalent of the Revolutionary Tribunals, these withdrew political crimes from regular justice. Counter-revolutionaries were acquitted or executed within 24 hours (...) And so Bouilly signed death sentences, for which he was later accused of cowardice. ”After the fall of the Robespierrists on 9th Thermidor, his political and administrative career was therefore over for the time being, and Bouilly looked for it Opportunities, to gain a foothold under the new circumstances and to rehabilitate. In his memoirs “Mes Récapitulations” (1837) he therefore claims that he dared to stand in the way of the “Terreur” in Tours, including the “devotion of one of the ladies from Touraine, in whose magnanimous efforts I did had the honor of doing my part. ”His contributions to the post-revolutionary fashion genre of the liberation opera, including his libretti for Pierre Gaveaux's, therefore serve the purpose of relieving himself of the burdenLéonore and Luigi Cherubini's water carrier(1800). The literary counterpart to the genre rescue or liberation opera was the counter-revolutionary "Terreurliteratur", ie "tearful stories from the prisons of the Jacobin rule, collected for example in the" Almanach des prisons "or the" Tableau des prisons "(...). It was about miraculous salvation and heroic sacrifice, but also about defaming petty-bourgeois revolutionary activists. The Thermidorian bourgeoisie undoubtedly saw the character of such a staid sans-culottes in the figure of the opera jailer Rocco, especially since Rocco is portrayed as an accomplice and not as a follower in both Bouilly and the first versions of the Beethoven opera. " probably the unscrupulous Convention Commissioner Jean-Baptiste Carrierwho spread terror and death in Nantes in 1793. He was eventually dismissed by the Welfare Committee for abuse of office and executed after Robespierre's fall.
Since some of the incriminated people from the time of the "Terreur" were still alive and had even made a career (the best-known example is Napoleon's police minister Fouché), it was dangerous to make enemies of these powerful men, so Bouilly already misplaced his libretto for Gaveaux the story goes to Bourbon Spain without a specific date.
Revisions
The first performance of the first version took place - after several postponements and interim prohibitions - on November 20, 1805 under the title Fidelio or Die eheliche Liebe in Vienna (with Overture No. 2). It was quite unsuccessful. The opera was later renamed Leonore according to Beethoven's original intentions . It then underwent multiple revisions. The second version was - initially with slight changes to the text and Overture No. 3 - under the title Leonore or The Triumph of Marital LoveFirst performed on March 29, 1806. Another revision took place later. A 25-page sketchbook bears witness to this laborious work process for Beethoven. Sonnleithner's text was revised by Treitschke, the plot tightened (this made two acts out of three), the tragic features of the main characters were reinforced, and the basic idea of the work now emerged more clearly, namely the exaggeration of Leonore's concrete noble deed into the general human . The third version of the opera, now renamed Fidelio , was premiered on May 23, 1814, nine years later, initially with Overture No. 3 (because the new one was not yet finished), and three days later with the Fidelio Overture.
There are four overtures in total. The first was probably never played (it was intended for a performance in Prague that did not take place), the second introduced the world premiere, and the third, the “Great Leonore Overture”, later appeared to Beethoven to be too extensive; today it is often used before the last image as a turning point and transition to the finale ( Gustav Mahler founded this tradition ). The conductor Ferenc Fricsay, on the other hand, had the third overture played at the end of the opera as a “dramatic résumé” (Friedrich Herzfeld). The fourth overture, the “Fidelio Overture”, was written by Beethoven for the final version of the opera; she has since introduced the work.
Cast of the first performances
| role | Cast for the premiere of the first version (Fidelio or Die eheliche Liebe) November 20, 1805 ( conductor : Ignaz von Seyfried ) |
Cast for the premiere of the second version (Leonore or The Triumph of Marital Love) March 29, 1806 (Conductor: Ignaz von Seyfried) |
First cast of the final version (Fidelio) 23 May 1814 (conductor: Michael Umlauf ) |
|---|---|---|---|
| Don Fernando | Johann Michael Weinkopf | Johann Michael Weinkopf | Ignaz Saal |
| Don Pizarro | Sebastian Mayer | Sebastian Mayer | Johann Michael Vogl |
| Florestan | Carl Demmer | Joseph August Röckel | Julius Radichi |
| Leonore | Anna Milder | Anna Milder | Anna Milder-Hauptmann |
| Rocco | Joseph Rothe | Joseph Rothe | Carl Weinmüller |
| Marcelline | Louise Mueller | Louise Mueller | Anna Bondra |
| Jaquino | Joseph Caché | Joseph Caché | Joseph Frühwald |
The cast for the premiere of the second version on March 29, 1806 was the same as for the only repetition on April 10, 1806.
effect
At the premiere of the first version, the enthusiasm was very limited. Only the third version was a success. The German soprano Wilhelmine Schröder-Devrient , who took over the role of Leonore in 1822 , ensured that it quickly spread abroad . She helped Richard Wagner to have a listening experience of the opera, which according to his own statements had a decisive influence on his artistic development.
The work also had a considerable influence on artists of later generations, such as the film director Stanley Kubrick , as is particularly evident in the film Eyes Wide Shut : The password for access to an occult orgy is also “Fidelio” and characterizes the tension between sexuality (drive) and Love (loyalty), in which the person is caught, but which he also has in his own hands to cope with. Significantly, here too a woman 'sacrifices' herself for the protagonist in order to enable his escape.
Productions
A significant date in the history of the production was the production of Gustav Mahler in 1904 . The 1928 " Proletkult " production in Leningrad caused a sensation . After the trumpet signal announcing the arrival of the minister, the inscription lit up on the screen: “According to the further plot of the play, the king frees the prisoners. That contradicts our class consciousness and we tear off the masks. ”The performance of the opera was stopped at this point.
The Vienna State Opera reopened on November 5, 1955 with a performance of Fidelio , which had been bombed in March 1945, shortly before the end of the Second World War. The reopening coincided with the withdrawal of the last occupation soldiers after more than ten years of occupation by the USA , Great Britain , France and the Soviet Union and with the associated independence of Austria in May 1955. The choice therefore fell deliberately on the “Liberation Opera Fidelio ” conducted by Karl Böhm .
One of the politically most explosive is the production that premiered in the Semperoper Dresden on October 7, 1989 - on the fortieth and last anniversary of the GDR - under the direction of Christine Mielitz . This fell in the days when in DresdenHundreds of demonstrators who peacefully demonstrated for freedom of expression and travel, were clubbed together, loaded onto trucks and transported to prisons. The director brings such a GDR prison with barbed wire fence and exposed concrete onto the boards as a set for her “Fidelio”. In the final scene, the “people” step onto the stage in normal everyday clothing, as if the members of the choir had just marched from the demonstration on the street to the opera - and in the staged implementation, this “people” presses the minister, who To release prisoners, just as protesters outside in the street are demanding the release of imprisoned colleagues and friends. The audience understood the message, after the prisoner's choir in the first act there was like Martin Walser, who attended the second performance on October 8, 1989, described "an applause that almost interrupted the evening" and then "another such ovation at the end".
Martin Kušej made a decisive break in the work in his 1998 staging in Stuttgart: After the trumpet signal during the dungeon quartet, the conflict does not come about, but Pizarro kills Florestan, whereupon Leonore Pizarro shoots. This is followed by a break, and the staging with the solemn final scene - with the participation of the dead figures - only continues mechanically. The 'Leonore Myth' appears as an exhibit of a society.
In autumn 2008 Johannes Felsenstein staged Beethoven's opera at the Anhaltisches Theater Dessau , which ended in a mass shooting of all those involved immediately after the finale, in order to point out the injustices of world affairs that still exist and thus to increase the urgency of Beethoven's message of liberation.
On June 28, 2014, the opera premiered in an open-air version of the Cottbus State Theater at the Cottbus prison memorial under the musical direction of Evan Christ. “The strongest actor [..] is the prison grounds [...] 1000 spectators [look] directly at the barred windows of the cell block. Then the head starts all by itself to link Beethoven's idealistic freedom music with the real existing past. ”(F. Hanssen) At this premiere, Yaquelin Boni and Berta Soler from Movimiento Las Damas de Blanco were in the audience. They were made by the Minister of State for Culture Monika Grütterswelcomed. The women of the opera choir took up the symbol of the Cuban struggle for freedom in their clothes. Four former prisoners also sang in the choir.
In 2018, Jan Schmidt-Garre completely renounced the disguise of Leonore ( Jacquelyn Wagner in her role debut) as a man in his staging of the opera in the St. Gallen Theater . The production shows that Leonore is not recognized because of her extraordinary personality and therefore does not need a disguise.
As a contribution to the Beethoven year 2020, the Vienna State Opera released the original version of “Fidelio” on February 1, 2020. The conductor was Tomáš Netopil , the general music director at the Aalto Theater in Essen . The maestro was acclaimed, as were the vocal soloists Jennifer Davis (soprano) as Leonore, Benjamin Bruns (tenor) as Florestan and Falk Struckmann (bass baritone) as prison guard Rocco; the directing team, on the other hand, was greeted with vehement boos.
Filmography
- 1956: Fidelio
literature
- Leopold von Sonnleithner , Beethoven and Paër. A correction , in: Reviews and Mittheilungen über Theater und Musik , Vol. 6, No. 27 of July 4, 1860, pp. 412f. ( Digitized version )
- Otto Jahn : Leonore or Fidelio? In: Otto Jahn: Collected essays on music. Breitkopf and Härtel, Leipzig 1866, DNB 457088729 .
- Erich Prieger : About Beethoven's Leonore. Leipzig 1905.
- Adolf Sandberger : Leonore von Bouilly and her arrangement for Beethoven. In: Adolf Sandberger: Selected essays on music history. Volume 2, Munich 1924, pp. 141-153.
- Jost Hermand : A star of fulfilled hopes, called earth. Utopian in Fidelio. In: Jost Hermand: Beethoven - work and effect. Böhlau, Cologne / Weimar / Vienna 2003, ISBN 3-412-04903-4 .
- Martin Lade: “So reach out for the necessary improvement yourself, your regents! Because there is still time. ”Traces of historical reality in Beethoven's Fidelio. Program of the Cologne Opera, 2003/2004 season.
- Martin Wassermair: The brother is looking for his brothers. Beethoven's “Fidelio” and the freedom of Austria. Optimus, Göttingen 2010, ISBN 978-3-941274-61-7 ( preface ).
Web links
- Visualized plot in How To Opera
- Plot and libretto by Fidelio in German at Opera-Guide
- Opera in nuce sound samples (MIDI)
- Many photos 2 productions Fidelio ad-free
- Frieder Reinighaus: Utopias of freedom and marital happiness - taz - about the Bonn production of Fidelio
- Fidelio : Sheet Music and Audio Files in the International Music Score Library Project
Recordings (selection)
- Kirsten Flagstad (Leonore), René Maison (Florestan), Julius Huehn (Pizarro), Alexander Kipnis (Rocco) and others a., choir and orchestra of the Metropolitan Opera New York, conductor: Bruno Walter , 1942 (Naxos 8.110054-55)
- Christa Ludwig (Leonore), Jon Vickers (Florestan), Walter Berry (Pizarro), Gottlob Frick (Rocco) u. a., Philharmonia Chorus & Orchestra, Conductor: Otto Klemperer , 1962 & 1964 (EMI)
- Leonie Rysanek (Leonore), Ernst Haefliger (Florestan), Dietrich Fischer-Dieskau (Pizarro), Gottlob Frick (Rocco) u. a., choir and orchestra of the Bavarian State Opera, conductor: Ferenc Fricsay , 1963 (DGG)
- Helena Braun (Leonore), Julius Patzak (Florestan), Ferdinand Frantz (Pizarro), Josef Greindl (Rocco), Karl Schmitt-Walter (Don Fernando) and others. a., Bavarian Radio Choir and Symphony Orchestra, conductor: Eugen Jochum , 2004 (WALHALL) and 2005 (Cantus Classics)
Individual evidence
- ↑ Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , p. 38.
- ^ Wolfgang Osthoff : Fidelio. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 215-219.
- ↑ The following information from Kurt Dorfmüller, Norbert Gertsch, Julia Ronge (eds.): Ludwig van Beethoven. Thematic-bibliographical catalog of works . Munich 2014, Volume 1, pp. 409-415
- ↑ Martin Lade: "So reach out for the necessary improvement yourself, your regents!" Traces of historical reality in Beethoven's Fidelio. Program booklet of the Cologne Opera season 2003/2004, p. 19.
- ↑ a b Martin Lade: “So reach out your hand for the necessary improvement, your regents!” Traces of historical reality in Beethoven's Fidelio. Program booklet of the Cologne Opera season 2003/2004, p. 21.
- ↑ Martin Lade: "So reach out for the necessary improvement yourself, your regents!" Traces of historical reality in Beethoven's Fidelio. Program booklet of the Cologne Opera season 2003/2004, p. 22.
- ↑ Cf. Beethoven's allegedly own statement that she "above all the other [pieces] caused the greatest pains in childbirth, but also the greatest annoyance and that is why he prefers it" (quoted in Thayer, Alexander Wheelock: Ludwig van Beethovens Life . P. 499).
- ↑ According to contemporary reports by Treitschke and Bertolini (see Thayer-D.-R. III, 425), Beethoven wrote the new overture in the days immediately before the first performance of the third version of the opera (23 May 1814), but could not do it end in time, so that - according to Seyfried - it had to be replaced by the overture to the festival 'The Ruins of Athens' (opus 113). It was played for the first time at the second performance on May 26th according to the following note on the theater ticket: “The new overture to this opera, which was missing the previous time due to obstacles, will be performed for the first time today.” (Georg Kinsky, Hans Halm: Beethoven's work. Thematic-bibliographical index of all his completed compositions . Henle, Munich 1955, p. 193)
- ^ Bob Mielke: Stanley Kubrick at the Fin de Siecle
- ↑ Some scenes from the German spring in autumn: Briefly in Dresden . In: Die Zeit , No. 43/1989
- ↑ Page no longer available , search in web archives: Anhaltisches Theater .
- ↑ Tagesspiegel on June 30, 2014, information from the Cottbus State Theater ( Memento from May 6, 2014 in the Internet Archive ) and Niederlausitz Aktuell
- ↑ Peter Hagmann [1] and Ingobert Waltenberger [2]
- ↑ Controversial "Fidelio" -Urfassung in Vienna , "Culture News" on February 2, 2020 retrieved February 3, 2020