A cold, steel background, resembling a torture chamber, forces itself upon the audience’s anxious eyes. Suddenly, amidst the bleak grayness appears a feminine young man, whose curvaceous body is confined to a strict uniform—long hair tied back, blouse buttoned up to the collar. This is a woman that renders even the most powerful man to hesitantly inquire: “Shall I tremble before a woman?”

Los Angeles Opera’s 2007/08 Season kicked off last weekend at the Dorothy Chandler Pavilion with Beethoven’s heroic work “Fidelio.” Originally entitled “Leonore,” the opera goes one step beyond presenting the typical heroine to celebrate a “modern” woman who exemplifies courage and profound commitment. Disguised as the young man, Fidelio (Faithful), Leonore defies all expectation and rescues her unjustly imprisoned husband Florestan.

Directed by the Italian avant-garde Pier’Alli, “Fidelio” appears as a light Mozartean-type comedy, but is in reality a blithe façade for Beethoven’s political passions. Thus, “Fidelio,” set in 18th-century Spain, is infused with the ideals of the French Revolution, or the prevailing themes of heroism and triumph over political tyranny.

While the first act transitions from light to dark, the second act moves in complete contrary motion. Seemingly out of the blue, designer Sergio Metalli’s video screen projections zoom down into the dungeon of the prisoner Florestan. While it can be dizzying at times, the projections offer entertainment during the purely instrumental passages of the opera. This visual complexity could have provided a more attention-grabbing accompaniment to Director Pier’Alli’s static stand-and-sing method in the first act, which involved the quartet strung in a line across the stage.

Down in the pit, as one of the world’s pre-eminent conductors, James Conlon infuses liveliness to Beethoven’s formulaically long overtures. The composer, in his constant revision and reworking of “Fidelio,” wrote four—each one, with Conlon’s assistance, allows the audience members’ minds to imagine and ears to merely enjoy.

On his debut season as Associate Conductor and Chorus Master, Grant Gershon has carefully instructed his vocalists to produce a pure and unified sound. In addition to their brilliant harmonies, the all-male chorus displays some interesting dance moves. Russian choreographer Nicola Bowie’s formal ballet influence on the chorus caused a few giggles in the audience. Perhaps ballet-dancing soldiers accompanied by Beethoven’s serious music are a tad unnecessary.

Anja Kampe as Leonore displays an immense talent as the faithful wife with a mission, making this particular production worth watching. As an utterly commanding mezzo-soprano, her bright voice cuts through Beethoven’s most boisterous orchestral and ensemble eruptions with remarkable ease.

In his company debut, Klaus Florian Vogt (Florestan) provides a distinct contrast from his lighter-voiced compatriots. His remarkably lyric sound combined with Kampe’s powerful timbre meld beautifully together.

The diverse and international supporting cast is complete with the conventional performer, German baritone Eike Wilm Schulte as Don Pizarro and the professional Finnish bass Matti Salminenas Rocco. Greg Fedderly as Jacquino offers comic relief between the seriousness of music and lack of action. Meanwhile, Rebekah Camm offers a pleasing Marzelline with her seemless high notes.

Overall, the combination of debuting talents infuses a fresh and robust energy to Beethoven’s rarely performed “Fidelio.” This is just the beginning of L.A. Opera’s exciting season.

Danielle Jacoby

Photo Credit: Los Angeles Opera