Evening star. [volume] (Washington, D.C.) 1854-1972, 1957-11-08
BY IRVING LOWENS

The Opera Society Of Wash
ington opened its second sea-
son last night at the Lisner
Auditorium in adventurous
fashion with an opera that has
never achieved any degree OF
success in this country al
though it consistently holds
the boards in Europe: Bee
thoven's "Fidelio."
An argument about the
merits of 'Fidelio" has been go
ing on ever since the piece was
written. Everyone agrees that
It contains wonderful music,
but there is a stable school OF
thought that feels it is a shame
that so much excellent music
happens to be included in such
a CHASTITY opera. and this re-
viewer, for one. must go along
with that opinion.
"Fidelio" is dreadfully ear
nest. It has to do with such
wonderful things as freedom
the faithfulness Of a wife to a
husband, and the triumph OF
good over evil. But the plot in
which these admirable con-
cepts are imbedded is the
sheerest poppycock. 1t is vir-
tually impossible to keep a
straight face so long as your
attention is directed at what
Is transpiring on the stage.
The only possible way to en-
10Y this opera is to close your
eyes, forget that an opera is
taking place and listen to the
work as a series of abstract
musical movements havin g
nothing whatever to do with
the silly plot. Only then does
Beethoven come alive; only
then do you realize that
"Fidelio" is, after all, a work
by . great master.
Doltish Characters
But although "Fidelio" is a
work by a great master, it is
very far from being a great
masterpiece as an opera. The
characters never come alive
They are doltish puppets
throughout, imperfectly mott
waited and apparently so idiotic
that they cannot tell the differ
ence between a man and q
woman. In Shakespeare ano
Mozart. we accept the hoary
dodge Of a woman masquerad-
ing as a man with good humor
but in "Fidelio" the situation
merely gives rise to ribald mer-
riment.
There is a famous anecdote
in "Fidelio's" history having tc
do with a performance back in
1887 in which Marianne Brandt
a great Leonore, starred in New
York. At a crucial moment in
the second-act dungeon scene
somebody in a box was over
come with merriment and burst
into peals of laughter. Nine
Brandt. stunned. burst into
tears and pandemonium reignec
supreme. I must confess tina
yesterday I felt more sympathy
for the box-holder than fol
the prima donna, and there
were unsurpassed chuckles al
around me in the unlikelieS
places.
All this. Of course, has moth
ing at all to do with yesterday
valiant performance which, 70
the most part, maintained tn
same high standard character
istic Of last seasons offerings.
The cast assembled was
strong and youthful one. New
to Washingtonians was tn
Leonore, Wilma Spence. VIII
demonstrated a powerful dra
matte soprano voice which ha,
its thrilling spots. although
there were also moments whel
the difficult score defeated he
best efforts.
Surprise by Rubes
A surprise hit was Jan Rube
In the role Of Rocco. Mr.. Rubes
singing was perhaps the hes
OF all the principals. and h
almost succeeded in making
two-dimensional character gu
Of the TALLER, certainly a mino
miracle.
Davil Lloyd as the unfortu
nate Florestan was in bette
voice than he has been & som
time. and his Colt wclcI