Fidelio

project, libretto & direction
Judith Vindevogel
music
Ludwig van Beethoven
musical arrangements, soundscapes & live piano
Jago Moons
scenography & light design
Stef Depover
actors and singers
Annelies Van Hijfte/Liesbeth Devos (soprano), Astrid Stockman(soprano), Kurt Gysen/Ronan Debois (bariton), Saïd Boumazoughe (actor / film)
costume design
Caroline Wittemans
costume execution
Hilde Mertens, Hanne Vandersteen & Caroline Wittemans
design puppet & mask
Filip Peeters
sound design
Geert De Wit/Stevie Van Haver
decor implementation
hetpaleis & Stef Depover
video
de Imagerie/Studio C
visual
Ingrid Godon
production
WALPURGIS
coproduction
hetpaleis (BE), Théâtre de Saint-Quentin-en-Yvelines/Scène nationale (FR)
with the support of
Arcadi Île-de-France & The Flemisch Government
co-presentation
DE MUNT/LA MONNAIE with the support of the Flemish Community Commission Brussels


Leonore hasn’t seen her beloved Florestan for two years.
Pizarro has been holding Florestan captive for two years.
Is Florestan a dangerous monster? Or a sneaky thief?
Not at all. Florestan has one huge passion: singing.
And his songs make people dream.

Pizarro, however, will not tolerate such dreaming
He has decided to stop Florestan from singing once and for all.
To do so, he locks Florestan inside a secret dungeon, deep underground.
People will soon forget all about him.

But Leonore misses her Florestan. She simply cannot forget him.
She is determined to free her friend from cruel Pizarro’s claws.
After the hugely successful fairy-tale opera Princess Turandot, WALPURGIS and hetpaleis are introducing young children to yet another opera classic. This time,
director Judith Vindevogel has opted for Fidelio, Beethoven’s first and only opera.

Beethoven was an idealist. Like Leonore and Florestan he had visions of a just and solidary world where people lived together in peace. In 1985 the Ode to Joy from his 9th Symphony became the anthem of the European Union, and it has been on Unesco’s World Heritage List since 2001.

Fidelio is a thrilling liberation opera with a touch of humour and a generous pinch of romance. The (young) viewers will be sitting among the actors so as to experience Leonore’s adventures ‘first hand’.

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