Utah Opera's Fidelio

Last night I went to Utah Opera's production of Fidelio by Ludwig van Beethoven at Capitol Theatre.  I always get a bit apprehensive when I see that a classic opera has been "reimagined" but the changes are absolutely brilliant and I really loved it.  Florestan (Thomas Kinch) is an innocent man unjustly held in a dungeon by the tyrannical prison commandant Don Pizarro (Zachary Nelson) as revenge for speaking out against him.  Florestan's wife Leonore (Wendy Bryn Harmer) is determined to save him and disguises herself as a man named Fidelio in order to gain the trust of the warden Rocco (Raymond Aceto) and thereby gain access to the prison.  Pizarro orders Rocco to kill Florestan but he refuses and, when he is forced to do it himself, Fidelio intervenes and denounces him to Don Fernando (Rodney Sharp II), a government minister who arrives to investigate allegations of abuse.  Fidelio reveals her true identity and Fernando has her remove Florestan's chains to show that love and courage overcome tyranny and oppression.  This powerful theme, which is incredibly relevant today, is further enhanced by the addition of a new character, the Oracle (Sharlene Wells), who periodically appears on stage in white billowing robes to recite quotes by 20th century authors and activists, such as Langston Hughes, Edna St. Vincent Millay, Lao Tzu, John Steinbeck, Martin Niemoller, Mahatma Gandhi, Nelson Mandela, J.R.R. Tolkien, Martin Luther King, Jr., and Viktor Frankl, in order to inspire the characters.  I loved all of these quotes (and so did the audience because most of them elicited applause) but I had goosebumps when the Oracle recites "Dirge Without Music" by Edna St. Vincent Millay (my new rallying cry is, "But I do not approve.  And I am not resigned.").  Beethoven's music is beautiful and the performances are incredibly moving.  I especially loved Harmer's rich and emotive soprano voice and her performances of the famous arias "Komm, Hoffnung, lass den letzten Stern" (Come, Hope, let the last star) and "Abscheulicher! Wo ist nur der Gatte?" (Abhorred! Where is my husband?) are full of resolve and determination as Leonore searches for her husband.  My favorite moment came at the beginning of Act II when Kinch, who has beautiful tenor voice full of pathos, sings the aria "Gott! Welch Dunkel hier!" (God! What darkness here!) contrasting the darkness of the dungeon where he is imprisoned with a vision of Leonore which gives him hope.  The opening note begins hesitantly then grows in strength and it put a tear in my eye!  I also loved "O welche Lust!" (O what delight!) sung by a chorus of prisoners after Leonore (Fidelio) convinces Rocco to let them outside to see the sun and they dream of freedom.  The set is minimalistic and the costumes are drab but I loved the dramatic projections, especially a sinister symbol that is projected on the prison walls (and repeated on the prison uniforms) and the recurring motif of roses as a representation of love.  I honestly cannot say enough about this production (it is now one of my favorites) and I highly encourage you to get a ticket (go here).  There are three more performances (January 21, 23 and 25) at Capitol Theatre.