Chorale Enlivens Beethoven in Opera `Fidelio’

It’s not often that quantity is in par with quality. In a rare performance in Seoul this weekend of ``Fidelio,’’ MuAk Opera offered a novel experience complete with an impressive 100-plus-member chorus that showed what Beethoven is all about.

The German master’s unique opera, despite its high musical merits, has been infrequently staged. The performances Thursday to Sunday at Seoul Arts Center marked its reappearance here after 17 years, and two were rendered for the first time in German. The opera received its South Korean premiere in 1970 but the underlying theme of freedom and justice prevailing over tyrannical power made it taboo under the militant regime of the ‘70s and ‘80s. Also, its preachy idealism of conjugal marriage and political austerity made it a less popular repertoire compared to Rossini’s melodramas or Mozart’s comedies.

Despite featuring a rather dark story set on a minimal stage set, MuAk Opera offered a production teeming with some brilliant musicality -- talented singers and, moreover, striking choristers, compensated more than enough for mistakes and even the opera’s inherent flaws.

The political story can be described as a romantic ``Prison Break’’-meets-Shakespeare’s ``Twelfth Night.’’ In 17th-century Seville, a nobleman Florestan is imprisoned for disclosing the evil Don Pizarro’s scandal, and his brave wife Leonore disguise as a prison guard to rescue him. Supporting characters that propel the narrative are Marzelline, who falls in love with Leonore-cum-Fidelio, and her father, the jailor Rocco, as well as Don Fernando, a friend of Florestan who arrives just in time to save Florestan and Leonore’s lives and condemn Pizarro.

In Friday’s production, soprano Lee Ji-young, a graduate of Placido Domingo’s young artist program, invited operagoers to plunge right into the story as the creamy Marzelline. Even in the supporting role, the lyric soprano made a vivid impression that commanded attention, as her voice bloomed beautifully in the girly role, with gleaming highs and radiant middle notes.

Kim Nam-su as Rocco also shined through as one of the noblest baritones this reporter has heard in Korea. He had a voice to match his dramatic presence, whose low range was marked by rich timbre and ample volume. Choi Joo-il, however, was not very imaginative in playing the figure of towering evil. While his buff physique suited the role of Pizarro, the orchestra constantly drowned out his thin voice. Moreover, the Korean Symphony Orchestra, led by Cheh Seung-hwan, often faltered in keep the rhythm with the singers.

Another less-than-perfect performance was delivered by the lead, Susan Anthony, who demonstrated that the part of Leonore-cum-Fidelio, with its merciless runs and scales, is a burdensome challenge for any soprano, no matter how talented. The dramatic soprano compellingly portrayed a character that is more human than superwoman. Vocally, however, she achieved power by sacrificing tone, particularly in the cruelly exposed high B’s of the ``Abscheulicher’’ aria, and the aria her character sings after rescuing her husband, which, in terms of narrative feels already superfluous, was rather lackluster.

However, it was hard not to be impressed. ``Fidelio’s’’ ideological core is the ``Prisoners’ Chorus,’’ and the MuAk Opera made a commendable attempt to make sure it was memorable. Members of the MuAk Oper Chorus and Grande Opera Chorus dominated the stage not only with their sheer number but also with their perfect harmony. In the hopeful upward-reaching motif, the prisoners greeted the open air with a rapturous tribute to freedom, as if to say, ``this is Beethoven’s chorale.’’

The production peaked in the second half, with the long-awaited appearance of Steven Harrison -- the Florestan of the hour. The act opened in the dark prison dungeon, the stage bare and the tenor all alone. But the stage brimmed with his powerful and tonally beautiful voice: In the anguished cry of ``Gott!’’ his instrument depicted pain most compellingly yet effortlessly, without the least bit of pain his notes.

MuAk Opera’s foundation was inspired by Yonsei University’s 2005 production of ``The Magic Flute’’ to fete its 120th anniversary. Most of cast and crew, naturally, share a common alma mater, which this reporter presumptuously assumes, was responsible for the miscasting of some of the roles. Nevertheless, the young opera group proved to be a breath of fresh air in the local opera scene, with its bold repertoire choice and determination to put artistry above financial concerns.

Soprano Lee Ji-young to Play Supporting Role in `Fidelio'

Photo courtesy of MuAk Opera

Lee Ji-young, who wowed the local audience as a guest singer in Placido Domingo’s Seoul recital in January, will appear as Marzelline in MuAk Opera's production of ``Fidelio,'' which will be staged Thursday through Sunday at Seoul Arts Center.

Some felt baffled that the rising U.S.-based soprano accepted the minor part, but Lee expressed great affection for the production.

``I was initially reluctant about appearing in the opera, not because it was a supporting role -- Marzelline’s part actually suits my voice better than Leonore’s -- but because I debuted here only recently (in Domingo’s recital),’’ she told The Korea Times, Friday in Seoul. A graduate of Domingo’s prestigious Young Artist program, she received critical acclaim for a lead in the Washington National Opera.

But she was ultimately drawn to the visions of the newly founded Muak Opera and the initiative of the project, which also coincides with the celebration of the 120th anniversary of her alma mater Yonsei University. ``I think the `how’ or `why’ part, rather than `what’ you do, is more important,’’ she said.

Originally a classically trained pianist, Lee began singing at a very late age, her senior year in high school. ``I had never heard an opera until then,’’ she chuckled. ``But in college, I fell in love with `La Boheme’ through Prof. Kim Kwan-dong (MuAk Opera’s artistic general director).’’

Afterward, Lee headed to the U.S. for further study. The road to her blooming success, however, was far from easy, as visa problems postponed the launching of her career. Domingo’s program was the only one that granted visas to participants, and Lee entered what she calls a ``great turning point.’’

``I was almost 10 years older than most people in the program, but everyone has their own path. Before, I used to feel anxious about becoming a diva and making it big. But I prayed a lot to God and rediscovered my reason for singing,’’ she said.

Marzelline is certainly a minor part, but Lee said she is a most crucial character that uplifts the dark story and helps the protagonist. On the opening night of the Washington National Opera’s ``Daughter of the Regiment,’’ Domingo himself had presented Lee as ``the daughter of the opera house.’’ Indeed, Seoulites will be able to see Lee shine through, as this reporter did in a rehearsal of ``Fidelio,’’ for quality reigns over quantity.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven’s `Fidelio’ to Be Staged in 17 Years

(Photo courtesy of MuAk Opera)

Seoul’s classical music scene is becoming increasingly diverse, but operas remain mostly limited to the standard repertoire of Mozart, Puccini and Rossini. MuAk Opera presents Thursday through Sunday a rare production of Beethoven’s ``Fidelio’’ -- for the first time here in 17 years and for the first time in the original German.

Beethoven’s unique opera, ``Fidelio’’ has been seldom revived since its 1805 premiere in Vienna under the German master’s own baton. Johan Simons brought the piece back into focus last fall through a modern reinterpretation at the Opera Garnier in Paris.

``Fidelio’’ debuted here in 1970 but wasn’t restaged until 1992 due to the strict military regime of the ‘70s and ‘80s. Set in 18th-century Seville, Spain, it traces a faithful wife Leonore’s efforts to save her husband Florestan, who had been illegally imprisoned for revealing the corrupt acts of Don Pizarro. She disguises herself as a man and enters the prison as a guard under the alias Fidelio and schemes to rescue Florestan from death row -- ``Prison Break,’’ anyone?

``We chose to stage `Fidelio’ rather than more popular works such as `Tosca’ because we felt a responsibility to introduce novel works to opera lovers,’’ said artistic general director Kim Kwan-dong in a recent press conference in Seoul.

``It isn’t light entertainment, as it depicts human sufferings. But the universal messages are relevant in modern society and shows that light shines in darkness,’’ he said. ``The story is dark but it is ultimately a happy ending,’’ said director Choi Ji-hyung. Indeed, the opera celebrates the triumph of love, justice and freedom. It also has some comic relief in the tradition of Shakespeare’s ``Twelfth Night,’’ where a young girl, Marzelline, falls in love with Fidelio.

The visuals will reflect the stark realism of the story, but MuAk Opera promises spectacular music, especially for the famous ``Prisoners’ Chorus’’ with an impressive cast of over 100 singers from the Grande Opera Choir. ``We did not want to compromise the work’s artistry for economic factors,’’ said the director.

``I’ve had the pleasure of hearing maestro (Choi Seung-han) conduct the chorus, and it’s one of the most beautiful sounds I’ve heard. From the quiet pianissimos to the triple forte, it had perfect diction and the most beautiful sound,’’ said American tenor Steven Harrison, who will share the role of Florestan with the popular Han Yoon-seok. Meanwhile, sopranos Na Kyung-hye and Susan Anthony will alternate the part of Leonore.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven Galore

In addition to ``Fidelio,’’ other pieces of music by Beethoven will fill local halls throughout the month. The Seoul Spring Festival of Chamber Music, under the theme ``Beethoven Plus,’’ presents the composer’s chamber works through May 18 in various venues around the capital. Visit www.seoulspring.org.

On May 23, virtuoso pianist Kim Sun-wook will join his former teacher, pianist-conductor Kim Dae-jin, for Suwon Philharmonic Orchestra’s special two-part concert featuring Beethoven’s complete Piano Concertos, at Gyeonggi Arts Center in Seoul’s satellite city, Suwon, Gyeonggi Province. Call (031) 288-2813~5.