FIDELIO – BEETHOVEN
Presented on Dec 1, 3, 5, 11 at the Gaiety Theatre Dublin as part of the Dublin Grand Opera Society’s Winter Season
Alena Mikova – Leonora
Oldrich Spisar – Florestan
Jaroslav Horacek – Pizzaro
Elfego Esparza – Rocco
Ann Moran – Marzelline
Patrick Ring – Jaquino
Brendan Keyes – Fernando
Albert Rosen – Conductor
Philippe Perrottet – Producer
Listen to this production here:
Everyone seemed impressed by the chorus. Albert Rosen, as expected, made his mark by his skilful conducting of Beethoven’s compelling “Fidelio” score. ‘The opera and the music suited his talents,’ recalled Brian O’Rourke, principal clarinettist of RTE Symphony Orchestra. ‘Actually I preferred him in this kind of work than in bel canto, although he was a versatile conductor as we all know from his Wexford and DGOS days.’ Paddy Ring, who was praised for his performance as the lovelorn Jacquino in the production, remembers that Albert Rosen contributed a considerable amount to its success and showed a wonderful understanding of the music. ‘I always believed that Albert was a risk-taker on the podium and adhered to the motto that there were a lot of people out there behind his back and he had to keep them entertained. He created atmosphere and excitement when it was needed and his musicianship was never in question. In my opening scene in “Fidelio”, for instance, he adopted a certain tempo and when I told him it was perhaps too fast, he explained it had to be like that as the whole thing would slow down later on.’ To Ring, Annovazzi was less effusive as a person than Rosen and never went overboard about things. ‘I regarded him as a splendid conductor who knew his music inside out; indeed, it was a miracle the way he held some productions together musically. He was a private person, lacking in small talk, but sincere all the same. I had no problem with him, nor for that matter with Albert Rosen. Both were steeped in opera tradition. To everyone, including the visiting artists, Annovazzi was ‘Maestro’, the boss, and you were not supposed to argue with him. He might not have been a world beater in musical inspiration, nevertheless he was respected for his solid professionalism and you could rely on him totally. If it went wrong it was your fault, not his.’ Ring says he was fortunate that as an RTE Singer he was allowed time off to perform both in Wexford and for the DGOS. ‘I must say that this added a great variety to my career and getting a chance to sing with established stars was both an education and a challenge. It was also my pocket money.’
(Extracted from “Love and Music: The Glorious History of the Dublin Grand Opera Society” by Gus Smith, 1998)
Opera in Ireland 