The Overtures to Fidelio
Beethoven struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as Leonore No. 2. Beethoven then focused this version for the performances of 1806, creating Leonore No. 3. The latter is considered by many listeners[weasel words] as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the defect of overwhelming the (rather light) initial scenes of the opera.[citation needed] Beethoven accordingly experimented with cutting it back somewhat, for a planned 1807 performance in Prague; this is believed to be the version now called Leonore No. 1.[citation needed] Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what we now know as the Fidelio overture.[citation needed] As this somewhat lighter overture seems to work best[weasel words] of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.[citation needed]
Gustav Mahler introduced the practice, common until the middle of the twentieth century, of performing Leonore No. 3 between the two scenes of the second act,[citation needed] and some conductors eg Leonard Bernstein still perform it there. In this location, it acts as a kind of musical reprise of the rescue scene that has just taken place. A new, modern-styled production that premiered in Budapest in October 2008, for example, features the Leonore 3 overture in this location [1].
Beethoven struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as Leonore No. 2. Beethoven then focused this version for the performances of 1806, creating Leonore No. 3. The latter is considered by many listeners[weasel words] as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the defect of overwhelming the (rather light) initial scenes of the opera.[citation needed] Beethoven accordingly experimented with cutting it back somewhat, for a planned 1807 performance in Prague; this is believed to be the version now called Leonore No. 1.[citation needed] Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what we now know as the Fidelio overture.[citation needed] As this somewhat lighter overture seems to work best[weasel words] of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.[citation needed]
Gustav Mahler introduced the practice, common until the middle of the twentieth century, of performing Leonore No. 3 between the two scenes of the second act,[citation needed] and some conductors eg Leonard Bernstein still perform it there. In this location, it acts as a kind of musical reprise of the rescue scene that has just taken place. A new, modern-styled production that premiered in Budapest in October 2008, for example, features the Leonore 3 overture in this location [1].
選擇“Disable on www.wenxuecity.com”
選擇“don't run on pages on this domain”
