Beethoven’s only opera, Fidelio is a unique, enduring masterpiece of loyalty, unselfish love and the human spirit--the story of the faithful Leonora who risks everything to free her husband, Florestan, from unjust imprisonment.

Now, this reliable edition from Dover reproduces the full orehestral and voeal score, with ample space in the margins for analytical notation. In one sturdily bound, inexpensive volume, here is Beethoven’s genius for orchestration combined with the drama of the human voice in ehoruses, duets, emotion-filled arias and an intense finale. First produced in Vienna on November 20, 1805, the opera was withdrawn, altered and restaged the following year--only to be withdrawn again, after a few performanees. The final score and libretto, here reproduced complete with all spoken German dialogue, did not reach the public until May 23, 1814.

Beethoven’s only opera, Fidelio is a unique, enduring masterpiece of loyalty, unselfish love and the human spirit--the story of the faithful Leonora who risks everything to free her husband, Florestan, from unjust imprisonment. Though the plot line and the form of the libretto are far from unique, Beethoven--after a decade of unceasing revision--was able to rise above the limitations of the material and infuse it with transcendent nobility.

"Of all my children," the eomposer said, "this is the one that eost me the worst birth pangs...and for that reason it is the one most dear to me." Audiences and musieians have long shared Beethoven’s sentiments, making Fidelio one of the most performed, most studied, most recorded operas of all time.

Now, this reliable edition from Dover reproduces the full orehestral and voeal score, with ample space in the margins for analytical notation. In one sturdily bound, inexpensive volume, here is Beethoven’s genius for orchestration combined with the drama of the human voice in ehoruses, duets, emotion-filled arias and an intense finale. First produced in Vienna on November 20, 1805, the opera was withdrawn, altered and restaged the following year--only to be withdrawn again, after a few performanees. The final score and libretto, here reproduced complete with all spoken German dialogue, did not reach the public until May 23, 1814.

More than anything else, the idealistic themes of the opera--justice, freedom, heroism, love--inspired Beethoven to transcend the libretto and forge a musical strueture that far surpasses the literary foundation on which it is built. Whether in a hmnorous aria, such as "Hat man aueh nicht Geld beineben," or a glorious four-part canon, sueh as "Mir ist so wnnderbar," the music earries the words to a plane far beyond themselves.

Reprinted in its entirety from the authoritative C. F. Peters edition, this faithful edition of the well-loved Fidelio will delight music lovers, opera enthusiasts, Beethoven devotees, teaehers and students--not least of all for its remarkably affordable price.

Overture

FIRST ACT

First Scene. Marzelline, Jaquino.

No. 1. Duet.

  Jaquino: "Jetzt, Schatzchen, jetzt sind wir allein."

Second Scene. Marzelline (alone).

No. 2. Aria.

  Marzelline: "O war’ ich schon mit dir vereint."

Third Scene. Marzelline, Rocco, Jaquino.

Fourth Scene. The preceding, Leonore.

No. 3. Quartet (Canon).

  Marzelline: "Mir ist so wunderbar."

No. 4. Aria.

  Rocco: "Hat man nicht auch Gold beineben."

No. 5. Trio.

  Rocco: "Gut, SShnchen, gut, hab’ immer Muth."

No. 6. March.

Fifth Scene. Rocco, Pizarro, Officers, Guards.

No. 7. Aria with Chorus.

  Pizarro: "Ha! welch’ ein Augenblick."

  Chorus of Guards: "Er spricht yon Tod und Wunde."

No. 8. Duet.

  Pizarro: "Jetzt, Alter. hat es Eile."

Sixth Scene. Leonore (alone).

No. 9. Recitative and Aria.

  Leonore: "Abscheulicher! wo eilst du hin?"

       "Komm, Hoffnung, lass den letzten Stern."

Seventh Scene. Marzelline, Jaquino.

Eighth Scene. The preceding, Rocco, Leonore.

Ninth Scene. The preceding, Chorus of Prisoners.

No. 10. Finale.

  Chorus of Prisoners: "0 welche Lust, in freier Luft."

Tenth Scene. Rocco. Leonore.

  Leonore: "Nun sprecht, wie ging’s?"

  Rocco: "Wir mussen gleich zum Werke schreiten."

Eleventh Scene. Jaquino and Marzelline, the preceding.

  Marzelline: "Ach, Vater, eilt."

Twelfth Scene. Pizarro, two Officers, Guards, the preceding.

  Pizarro: "Verweg’ner Alter, welche Rechte."

  Chorus of Prisoners: "Leb’ wohl, du warmes Sonnenlicht."

SECOND ACT

First Scene. Florestan (alone).

No. 11. Introduction and Aria.

  Ftorestan: "Gott! welch’ Dunkel hier!"

         "In des Lebens Fruhlingstagen."

Second Scene. Rocco, Leonore, Florestan.

No. 12. Melodrama and Duet.

  Leonore: "Wie kalt ist es in diesem unterirdischen Gewolbe."

  Rocco: "Nur hurtig fort, nur frisch gegraben."

No. 13. Trio.

  Florestan: "Euch werde Lohn in bessern Welten."

Third Scene. The preceding, Pizarro.

No. 14. Quartet.

  Pizarro: "Er sterbe! Doch er soll erst wissen."

  Leonore: "Ich bin sein Weib, geschworen hab’ ich."

Fourth Scene. The preceding, Jaquino, two Officers, Soldiers.

  Leonore: "Es schlagt der Rache Stunde."

Fifth Scene. Leonore, Florestan.

No. 15. Duet.

  Leonore: "O namen-, namenlose Freude."

Sixth Scene. Rocco, the preceding.

Seventh Scene. Don Fernando, Pizarro, Officers, Townspeople,

  Jaquino, Marzelline, Prisoners.

No. 16. Finale.

   Chorus of Townspeople and Prisoners: "Hell sei dem Tag, Heil sei der Stunde."

   Don Fernando: "Des besten Konigs Wink und Wille."

Eighth Scene. The preceding, Rocco, Leonore, Florestan.

   Rocco: "Wohlan, so helfet! helft den Armen."

   Chorus: "Bestrafet sei der Bosewicht."

   Leonore: "O Gott! welch’ ein Augenblick!"

   Chorus: "Wer ein holdes Weib errungen."