My sorrow is doubly painful because I am bound to be misunderstood.” In a letter to his brother, the musical genius shared his despair about the condition that would become total deafness: “What a humiliation for me when someone hears a flute in the distance and I hear nothing or someone hears a shepherd singing and again I hear nothing. It took Beethoven years - from the mid-1790s until the premiere in Vienna in November 1805 - to convert Fidelio from its French original, Leonore, or marital love, by Jean-Nicolas Bouilly.īeethoven’s hearing problems began to emerge in 1798, when he was 28 years old. The production was supposed to premiere in Barcelona two years ago as part of the celebrations marking 250 years since Beethoven’s birth, but the pandemic forced a change of plans.ĭressed in black and wearing Adidas sneakers, Dudamel, who is head of the Paris Opera, asked for a more suffocating sound from the instrumentalists before him - something more like the atmosphere that political prisoner Florestan, one of the protagonists, experienced during his confinement.ĭuring a break in the rehearsal, Dudamel tells EL PAÍS he had invited the orchestra to consider “the stench of the tight place he was in, the feeling of oppression.in addition to the human pain, you can feel the physical space of where he is just by listening to the music,” he says.ĭudamel describes Fidelio as one of the most important pieces of music in history. It premiered on Thursday at the Walt Disney Concert Hall with actors and a choir of deaf people.
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Standing before the Los Angeles Philharmonic, the 41 year-old Venezuelan orchestra conductor is pushing through the final details of the rehearsals of Fidelio, the only opera Beethoven composed.
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“Umba, umba, umba, umba.,” “a little more yammmmajajaja” - Gustavo Dudamel is all onomatopoeia.