Ludwig van Beethoven

Fidelio

mix Opera 14 rehearsal
, –
Hungarian State Opera
Running time including interval
  • Act I:
  • Interval:
  • Act II:

Language German

Surtitle Hungarian, English, German

Amidst the many stories of strong and heroic men, a work where true strength and resolution are embodied by a woman – even if she must disguise herself as a man to achieve her goal – always raises fascinating questions. Ludwig van Beethoven’s only opera brings together multiple traditions: it incorporates the Singspiel (a musical drama with spoken dialogue), an almost fairy-tale-like happy ending, the legacy of Viennese classicism, and a foreshadowing of Romantic grandeur. At the same time, it stands as one of the most iconic examples of rescue opera, in which a wife, Leonore – disguised as Fidelio – fights to save her unjustly imprisoned husband, Florestan.
The OPERA follows a long-standing tradition by collaborating with major international opera houses or adopting productions to offer the Budapest audience a taste of European performances. Following last year’s Don Giovanni from Berlin, this time it presents a production from London’s Royal Ballet and Opera, directed by Tobias Kratzer, the director of the Hamburg Opera from the 2025/26 season. His staging masterfully blends traditional and modern elements in an exciting way, under the baton of Péter Halász. The production was a resounding success in London, making it a great privilege that it will be the Budapest audience to experience it first internationally outside the UK.

Based on the production by Royal Opera, Covent Garden, London. First performed at the Royal Opera House, Covent Garden on 1 March 2020.

Opera guide

“Only empathy can save us”

The Hungarian State Opera presents another Western European success production: Beethoven’s only opera, Fidelio, was staged in 2020 at the Royal Opera House in London in a production by Tobias Kratzer to significant acclaim. We asked the director, intendant and managing director of the Hamburg State Opera since the beginning of the current (2026/27) season, about his concept and its lasting relevance.

Regarding your London production of Fidelio, critics primarily highlighted its bold interpretation and cinematic vision. More than half a decade after the premiere, how do you view the production?

We placed the first act of Fidelio in the original historical context that inspired the composer: the era of the French Revolution, the world of the ideals of liberty, equality, and fraternity. The second act asks: what remains of these ideals today? The work addresses issues that are always relevant, and I believe Beethoven’s answer is still timely: perhaps empathy is the only thing that can still save us.

You relocated the story from 17th-century Spain to the time of the French Revolution, yet we still find ourselves in a contemporary setting. What inspired this complex approach?

The solution lies in the differing dramaturgy and musical style of the opera’s two acts. Many consider this contrast to be Fidelio’s greatest weakness, but for me it is one of its most unique qualities. This is not a “well-made play,” but rather a work that constantly poses questions to the audience, raising both aesthetic and political dilemmas. I want the viewer to reflect: isn’t the way we watch the suffering of others on stage similar to how we respond to the horrors of the world? We observe, consume, perhaps even enjoy the tension, yet it does not prompt us to act. Or does it?

Fidelio is both a love story and a political statement. Which aspect feels more important to you here and now?

For me, the most important line in the piece is Leonora’s cry in the second act: “Whoever thou art, I shall save thee!” At this moment, Leonora transcends the personal, the romantic storyline, making a brave, political, and deeply human declaration. In my staging, Marzelline, a supporting character often pushed into the background plays a key role in this turning point. She loves Leonora and considers freeing Leonora’s husband more important even than saving her own love.

In your productions, the tools of theatre, film, and live performance often intertwine. How does this work in Fidelio?

Directly addressing the audience and filming them upon arrival first appeared as a device in Fidelio. I developed this idea further in my autumn 2025 Hamburg production of Robert Schumann’s Das Paradies und die Peri: there, the singers broke the fourth wall to communicate directly with the audience.

The Budapest audience will be the first outside the United Kingdom to see your Fidelio. Is it necessary to adapt a concept originally designed for a different cultural context to a new audience?

There are practical considerations, of course, such as how the set adapts to a stage of different size and technical conditions. But for me, the most important thing is that the universal message of the work is not lost in the adaptation. I believe that the questions posed by both the piece and the staging are not tied to a single location but are universal. The answers, however, depend not only on the environment but also on each viewer’s personal response.

Interview conducted by Tamás Jászay