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| Beethoven - Leonore
QEH London 26 November 2005
Leonore – Brigitte Wohlfarth Florestan – Justin Lavender Marzelline – Malinda Hughes Rocco – Richard Wiegold Jaquino – Colin Judson Pizarro – Simon Neal Don Fernando – Dean Robinson
We have all experienced that sinking feeling in the stomach when someone gets up on stage before the play, or that ominous slip of paper appears in the programme. Oh dear, an indisposition – a substitution. But regular patrons are aware that this can be a blessing in disguise – there is always the possibility that the substitute will display unexpected talent. On this occasion the Chelsea Opera Group was truly fortunate in securing the services of the German soprano, Brigitte Wohlfarth, as a replacement for the indisposed Turid Karlsen. An added advantage in her favour was the fact that she was currently singing this role in Munich making her an eminently qualified Leon ore.
Composers' second thoughts are not necessarily an improvement on the original ones – Verdi's Macbeth and Simon Boccanegra have recently gained acceptance as separate operas in their original versions. In Beethoven's case, the difference between the early and the later versions is mostly a question of organisation rather than inspiration. Thus, the mature Beethoven recognised his error in using the crucial trumpet call, announcing the arrival of the Minister, for the overture. The earlier score is extended and the plot rather disjointed so that, even more than in Fidelio , the onus is on the Leon ore to provide the link for the disparate elements. Therefore she must win our sympathy if the opera is to be successful. This Brigitte Wohlfart did; from the opening bars of the miraculous quartet “Mir ist so wunderbar” she presented a rounded portrait of Leon ore as a single-minded woman with a mission to rescue her husband from prison whatever the cost to herself. Her voice commands a range of expression and technique which stood her in good stead for the fearsome Act 2 aria and the harrowing moments in the dungeon.
The tension in the grave-digging scene was underlined by the dark bass of Richard Wiegold as the gruff but good natures gaoler, Rocco, while the suffering Florestan was sung by the ever reliable Justin Lavender. The high point
Everyone contributed to this remarkable evening, not least the orchestra under Howard Williams, and the chorus which made its presence felt in the prisoners' hymn to the sunlight. Melinda Hughes presented a very feminine contrast to “Fidelio” with her Marzelline; and Colin Judson was a lively Jaquino. As the villainous Governor, Simon Neal's baritone was not quite nasty enough; Pizarro has no redeeming features.
Leonore may be a flawed masterpiece, but this concert performance was one that emphasised its merits and minimised its shortcomings. The music making was exceptionally good but the real triumph was enjoyed by Brigitte Wohlfarth, whose Leonore, I think, will be remembered for a long time to come.
© S Jenkins
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Chelsea Opera Group
of the evening was reached in Act 3 with the ecstatic reunion of Leon ore with her husband; Brigitte Wohlfarth let her hair down, quite literally at this critical moment. The disguised “youth” was transformed suddenly into a loving, sensual being. Unfortunately Beethoven's inexperience with stage works led him to carry on with an extended finale, instead of finishing the work then – a mistake he avoided in Fidelio nine years later.