Egmont & Leonore 1280x680 © Hermine Karigl-Wagenhofer

anlässlich des 250. Geburtstages von Ludwig van Beethoven am 16.12.2020


Schauspielmusik zu Johann Wolfgang von Goethes Trauerspiel "Egmont"


aus der Oper in zwei Akten:

Ouvertüre (1814)

Arie der Leonore - „Komm, Hoffnung, lass’ den letzten Stern“ (1806)

Arie des Rocco - "Hat man nicht auch Gold beineben"

Gefangenenchor - „O welche Lust, in freier Luft“ (1814)


Samstag, 28. November 2020, 19:00 Uhr (keine Pause)


All his life, Beethoven concerned himself with the topos of liberty: what it means for human beings and how important it is to us all. In Count Egmont, the eponymous protagonist in Goethe’s drama, Beethoven found his ideal freedom fighter. For a performance of the play at Vienna’s Burgtheater in 1810 he composed ten pieces of incidental music, even though the plot only required five. The most famous piece, indeed one of the most famous of all Beethoven’s pieces, is the overture. It was written towards the end of the composing process and is said to anticipate the events of the drama that follows. Beethoven’s choice of structure provides a first indication of Spain as the oppressor: the overture has the form of a sarabande, a courtly dance that originated in Spain. However, as the play unfolds there is no relation between the music and particular characters, so which character is represented by which motif remains a matter of speculation. Things are much more specific in Beethoven’s only opera Fidelio. The bulk of it was written in 1804 and 1805 at and for the Theater an der Wien. It is the story of the courageous love of Leonore who, disguised as Fidelio, worms her way into the confidence of the gaoler Rocco because she suspects that her falsely imprisoned husband Don Florestan is in Rocco’s cells. However, she does not know for sure whether the mysterious prisoner is her husband or not. She is permitted to accompany Rocco to the gaol to dig a grave. And there, half concealed in shadow, she glimpses an emaciated figure that she cannot quite make out. She is deeply moved by the prisoner’s suffering and resolves to save him, whoever he may be. Leonore is prepared to risk her own life and that of her husband whom, as far as she knows, she has not yet found, to save a stranger and obtain justice for him. For injustice of this kind weighs just as heavily on every victim. This moment is hard to bear because it is an example of a standpoint that has become rare.