Leonore disguises herself as Fidelio to free her lover from unjust imprisonment. The mission succeeds, the man is released, the woman stands firmly by his side and everyone can „be happy“…
But doesn’t what ends in Beethoven’s „Fidelio“ in the Song of Songs of Spousal Love need to be radically questioned today? Far away from daily political updates, the new interpretation reads ELEONORE – I don’t need to be happy. Beethoven’s only opera as a story about the relationship of people within a rigid system. As in the original, the focus is on Leonore, who tries to liberate her husband across all boundaries, but increasingly asks herself who she is actually liberating and from what? ‚I will be happy‘ she sings longingly with Beethoven. But what is hidden behind this future happiness? Is it what she can really wish for? What does the system have in store for a woman like her? And what kind of artist? Where is room for the other? The beyond of convention? Where the real liberation from an almighty male system takes place?