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Data Protection Act 1998
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Data Protection Act 1998
Act of Parliament
Parliament of the United Kingdom
Long title
An Act to make new provision for the regulation of the processing of information relating to individuals, including the obtaining, holding, use or disclosure of such information.
Territorial extent
United Kingdom of Great Britain and Northern Ireland
Dates
Royal assent
16 July 1998
Commencement
March 2000
Other legislation
Replaces
Data Protection Act 1984
Status: Current legislation
Text of the Data Protection Act 1998 as in force today (including any amendments) within the United Kingdom, from legislation.gov.uk
The Data Protection Act 1998 (c 29) is a United Kingdom Act of Parliament designed to protect personal data stored on computers or in an organised paper filing system. It follows the EU Data Protection Directive 1995 protection, processing and movement of data. Individuals have legal rights to control information about themselves. Most of the Act does not apply to domestic use,[1] for example keeping a personal address book. Anyone holding personal data for other purposes is legally obliged to comply with this Act, subject to some exemptions. The Act defines eight data protection principles to ensure that information is processed lawfully.
Contents
[hide]
1 Background
2 Contents
2.1 Scope of protection
2.2 Data protection principles
2.3 Exceptions
2.4 Police and court powers
2.5 Offences
2.6 Complexity
2.7 Definition of personal data
2.8 Subject Access Requests
2.9 Information Commissioner
2.10 EU’s Article 29 Working Party
3 See also
4 References
5 External links
5.1 UK legislation
Background[edit]
The 1998 Act replaced the Data Protection Act 1984 and the Access to Personal Files Act 1987 and implemented the EU Data Protection Directive 1995.
The Privacy and Electronic Communications (EC Directive) Regulations 2003 altered the consent requirement for most electronic marketing to "positive consent" such as an opt in box. Exemptions remain for the marketing of "similar products and services" to existing customers and enquirers, which can still be given permission on an opt out basis.
The Jersey data protection law was modelled on the UK law.[2]
Contents[edit]
Scope of protection[edit]
Section 1 defines "personal data" as any data that can be used to identify a living individual. Anonymised or aggregated data is less regulated by the Act, providing the anonymisation or aggregation has not been done in a reversible way. Individuals can be identified by various means including their name and address, telephone number or email address. The Act applies only to data which is held, or intended to be held, on computers ('equipment operating automatically in response to instructions given for that purpose'), or held in a 'relevant filing system'.[3]
In some cases paper records may be classified as a 'relevant filing system', such as an address book or a salesperson's diary used to support commercial activities.[4]
The Freedom of Information Act 2000 modified the act for public bodies and authorities, and the Durant case modified the interpretation of the act by providing case law and precedent.[5]
A person who has their data processed has the following rights:[6][7]
under section 7, to view the data an organisation holds on them for a reasonable fee: the maximum fee is £2 for requests to credit reference agencies, £50 for health and educational request, and £10 per individual otherwise,[8]
under section 14, request that incorrect information be corrected. If the company ignores the request, a court can order the data to be corrected or destroyed, and in some cases compensation can be awarded.[9]
under section 10, require that data is not used in any way that may potentially cause damage or distress.[10]
under section 11, require that their data is not used for direct marketing.[11]
Data protection principles[edit]
Schedule 1 lists eight "data protection principles".
Personal data shall be processed fairly and lawfully and, in particular, shall not be processed unless:
at least one of the conditions in Schedule 2 is met, and
in the case of sensitive personal data, at least one of the conditions in Schedule 3 is also met.
Personal data shall be obtained only for one or more specified and lawful purposes, and shall not be further processed in any manner incompatible with that purpose or those purposes.
Personal data shall be adequate, relevant and not excessive in relation to the purpose or purposes for which they are processed.
Personal data shall be accurate and, where necessary, kept up to date.
Personal data processed for any purpose or purposes shall not be kept for longer than is necessary for that purpose or those purposes.
About the rights of individuals e.g.[12] personal data shall be processed in accordance with the rights of data subjects (individuals).
Appropriate technical and organisational measures shall be taken against unauthorised or unlawful processing of personal data and against accidental loss or destruction of, or damage to, personal data.
Personal data shall not be transferred to a country or territory outside the European Economic Area unless that country or territory ensures an adequate level of protection for the rights and freedoms of data subjects in relation to the processing of personal data.
Conditions relevant to the first principle
Personal data should only be processed fairly and lawfully. In order for data to be classed as 'fairly processed', at least one of these six conditions must be applicable to that data (Schedule 2).
The data subject (the person whose data is stored) has consented ("given their permission") to the processing;
Processing is necessary for the performance of, or commencing, a contract;
Processing is required under a legal obligation (other than one stated in the contract);
Processing is necessary to protect the vital interests of the data subject;
Processing is necessary to carry out any public functions;
Processing is necessary in order to pursue the legitimate interests of the "data controller" or "third parties" (unless it could unjustifiably prejudice the interests of the data subject).[13]
Consent
Except under the below mentioned exceptions, the individual needs to consent to the collection of their personal information and its use in the purpose(s) in question. The European Data Protection Directive defines consent as “…any freely given specific and informed indication of his wishes by which the data subject signifies his agreement to personal data relating to him being processed”, meaning the individual may signify agreement other than in writing. However, non-communication should not be interpreted as consent.
Additionally, consent should be appropriate to the age and capacity of the individual and other circumstances of the case. E.g., if an organisation "intends to continue to hold or use personal data after the relationship with the individual ends, then the consent should cover this." And even when consent is given, it shouldn't be assumed to last forever. Although in most cases consent lasts for as long as the personal data needs to be processed, individuals may be able to withdraw their consent, depending on the nature of the consent and the circumstances in which the personal information is being collected and used.[14]
The Data Protection Act also specifies that sensitive personal data must be processed according to a stricter set of conditions, in particular any consent must be explicit.[14]
Exceptions[edit]
The Act is structured such that all processing of personal data is covered by the act, while providing a number of exceptions in Part IV.[1] Notable exceptions are:
Section 28 – National security. Any processing for the purpose of safeguarding national security is exempt from all the data protection principles, as well as Part II (subject access rights), Part III (notification), Part V (enforcement), and Section 55 (Unlawful obtaining of personal data).
Section 29 – Crime and taxation. Data processed for the prevention or detection of crime, the apprehension or prosecution of offenders, or the assessment or collection of taxes are exempt from the first data protection principle.
Section 36 – Domestic purposes. Processing by an individual only for the purposes of that individual's personal, family or household affairs is exempt from all the data protection principles, as well as Part II (subject access rights) and Part III (notification).
Police and court powers[edit]
The Act grants or acknowledges various police and court powers.
Section 29 – Consent of the Data Subject is not required when processing Personal Data to prevent or detect crime, apprehend or prosecute offenders, the assessment and collection of taxes and duties and to discharge a statutory function.[15]
Section 35 – Disclosures required by law or made in connection with legal proceedings. This includes obeying court orders, other laws and are part of legal proceedings.[16]
Offences[edit]
The Act details a number of civil and criminal offences for which data controllers may be liable if a data controller has failed to gain appropriate consent from a data subject. However, 'consent' is not specifically defined in the Act and so is a common law matter.
Section 21(1) makes it an offence to process personal information without registration.[17]
Section 21(2) makes it an offence to fail to comply with the notification regulations made by the Secretary of State[17] (proposed by the Information Commissioner under section 25 of the Act).[18]
Section 55 makes unlawful obtaining of personal data. This section makes it an offence for people (Other Parties), such as hackers and impersonators, outside the organisation to obtain unauthorised access to the personal data.[19]
Section 56 makes it a criminal offence to require an individual to make a Subject Access Request relating to cautions or convictions for the purposes of recruitment, continued employment, or the provision of services.[20] This section came into force on 10 March 2015.[21]
Complexity[edit]
The UK Data Protection Act is a large Act that has a reputation for complexity.[22] While the basic principles are honoured for protecting privacy, interpreting the act is not always simple. Many companies, organisations and individuals seem very unsure of the aims, content and principles of the Act. Some hide behind the Act and refuse to provide even very basic, publicly available material quoting the Act as a restriction.[23] The Act also impacts on the way in which organisations conduct business in terms of who can be contacted for marketing purposes, not only by telephone and direct mail but also electronically and has led to the development of permission based marketing strategies.
Definition of personal data[edit]
The definition of personal data is data relating to a living individual who can be identified
from that data or
from that data and other information in the possession of, or is likely to come into the possession of, the data controller
Sensitive personal data concerns the subject's race, ethnicity, politics, religion, trade union status, health, sex life or criminal record.[24]
Subject Access Requests[edit]
The Information Commissioner's Office website states[25]:
You have the right to get a copy of the information that is held about you. This is known as a subject access request.
This right of subject access means that you can make a request under the Data Protection Act to any organisation processing your personal data. The Act calls these organisations ‘data controllers’.
You can ask the organisation you think is holding, using or sharing the personal information you want, to supply you with copies of both paper and computer records and related information.
Organisations may charge a fee for responding to a subject access request of up to[25]:
£2 if it is a request to a credit reference agency for information about your financial standing
£50 for health records that are not available in electronic form or only partially available in electronic form
£10 in all other circumstances
Information Commissioner[edit]
Main article: Information Commissioner's Office
Compliance with the Act is regulated and enforced by an independent authority, the Information Commissioner's Office, which maintains guidance relating to the Act.[26][27]
EU’s Article 29 Working Party[edit]
In January 2017 the Information Commissioner's Office invited public comments on the EU’s Article 29 Working Party's proposed changes to data protection law and the anticipated introduction of extensions to the interpretation of the Act, the Guide to the General Data Protection Regulation.[28]
See also[edit]
Data Protection Act, 2012 (Ghana)
Computer Misuse Act 1990
Data privacy
Data Protection Directive (EU)
Freedom of Information Act 2000
Gaskin v United Kingdom
List of UK government data losses
Privacy and Electronic Communications (EC Directive) Regulations 2003
General Data Protection Regulation – a 2016 EU regulation on data protection
Smith v Lloyds TSB Bank plc
Durant v Financial Services Authority [2003] EWCA Civ 1746
References[edit]
^ Jump up to: a b Data Protection Act 1998, Part IV (Exemptions), Section 36, Office of Public Sector Information, accessed 6 September 2007
Jump up ^ Jersey: Data Protection In Jersey And Other Offshore Jurisdictions 23 July 2008 Article by Wendy Benjamin, mondaq.com,
Jump up ^ "Data Protection Act 1998, Basic interpretative provisions". Office of Public Sector Information. Retrieved 14 March 2014.
Jump up ^ "Determining what information is 'data' for the purposes of the DPA" (PDF). Information Commissioner's Office. 16 March 2012. Retrieved 2 March 2018.
Jump up ^ "What is personal data? Information Commissioner updates guidance". Pinsent Masons. 30 August 2007. Retrieved 20 August 2012. In the case involving Michael Durant he sought information held on him by the Financial Services Authority. The Court of Appeal ruled that just because a document contained his name it was not necessarily defined as personal data. This changed the perception of how wide a definition of personal data could be.
Jump up ^ Your rights, ICO, accessed 6 September 2007
Jump up ^ "The rights of individuals (Principle 6)", ICO, accessed 7 December 2016
Jump up ^ "FAQs". Information Commissioner's Office. Retrieved 19 January 2014.
Jump up ^ "Claiming compensation". Information Commissioner's Office. Retrieved 24 November 2017.
Jump up ^ Data Protection Act 1998, Part II (Rights of data subjects and others), Section 10, Office of Public Sector Information, accessed 6 September 2007
Jump up ^ Data Protection Act 1998, Part II (Rights of data subjects and others), Section 11, Office of Public Sector Information, accessed 6 September 2007
Jump up ^ The rights of individuals (Principle 6), ICO.org.uk, accessed 14 April 2011
Jump up ^ OPSI.gov.uk Data Protection Act 1998 Schedule 2
^ Jump up to: a b "Conditions for Processing – Guide to Data Protection – ICO". Information Commissioner's Office. Retrieved 8 February 2013.
Jump up ^ Data Protection Act 1998, Part IV (Exceptions – Crime and taxation), Section 29
Jump up ^ Data Protection Act 1998, Part IV (Exemptions – Disclosures required by law or made in connection with legal proceedings etc.), Section 35
^ Jump up to: a b Data Protection Act 1998, Part III (Notification by Data Controllers), Section 21, Office of Public Sector Information)
Jump up ^ Data Protection Act 1998, Part III (Notification by Data Controllers), Section 25
Jump up ^ Data Protection Act 1998, Part VI (Miscellaneous and General), Section 55, Office of Public Sector Information, accessed 14 September 2007
Jump up ^ Data Protection Act 1998, Part VI (Miscellaneous and General), Section 56, Office of Public Sector Information, accessed 14 September 2007
Jump up ^ http://www.lewissilkin.com/Journal/2015/March/Forced-data-subject-access-requests-are-now-a-criminal-offence.aspx
Jump up ^ Bainbridge, D: "Introduction to Computer Law – Fifth Edition", page 430. Pearson Education Limited, 2005
Jump up ^ Data Protection myths and realities, Information Commissioner's Office, accessed 30 August 2008
Jump up ^ "Data Protection Act 1998". UK Statute Law Database. Retrieved 20 August 2012.
^ Jump up to: a b "Find out how to request your personal information". Retrieved 6 August 2017.
Jump up ^ "The Guide to Data Protection". Information Commissioner's Office. Retrieved 6 January 2015.
Jump up ^ Guidance – The Data Protection Act, Page of Assorted Guidance, Information Commissioner's Office, accessed 20 October 2007
Jump up ^ "Guide to the General Data Protection Regulation (GDPR)". ico.org.uk. 22 December 2017. Retrieved 6 January 2018.
External links[edit]
Wikiversity has learning resources about Data Protection Act 1998
Information Commissioner's Office
The Department for Constitutional Affairs
Council of Europe – ETS no. 108 – Convention for the Protection of Individuals with regard to Automatic Processing of Personal Data (1981) – basis for Data Protection Act 1984
Directive 95/46/EC of the European Parliament and of the Council of 24 October 1995 on the protection of individuals with regard to the processing of personal data and on the free movement of such data – basis for Data Protection Act 1998
UK legislation[edit]
Text of the Data Protection Act 1998 as in force today (including any amendments) within the United Kingdom, from legislation.gov.uk
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Fidelio
From Wikipedia, the free encyclopedia
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This article is about Beethoven's opera. For other uses, see Fidelio (disambiguation).
"Leonore" redirects here. For other uses, see Leonore (disambiguation).
Fidelio
Opera by Ludwig van Beethoven
Fidelio, playbill of the third and finalized premiere at the Kärntnertortheater in Vienna, 23 May 1814
Librettist
Originally prepared by Joseph Sonnleithner, from the French of Jean-Nicolas Bouilly. Later shortened by Stephan von Breuning (de) and edited by Georg Friedrich Treitschke.
Language
German
Premiere
Original premiere 20 November 1805 (1805-11-20); reworked version 29 March 1806 (1806-03-29); finalized version 23 May 1814 (1814-05-23).
First two premieres at Theater an der Wien, Vienna. Finalized version at Kärntnertortheater, Vienna
Fidelio (originally titled Leonore, oder Der Triumph der ehelichen Liebe; English: Leonore, or The Triumph of Marital Love),[1] Op. 72, is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. The following year, Stephan von Breuning (de) helped shorten the work from three acts to two. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as Leonore.
The libretto, with some spoken dialogue, tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison. Bouilly's scenario fits Beethoven's aesthetic and political outlook: a story of personal sacrifice, heroism, and eventual triumph. With its underlying struggle for liberty and justice mirroring contemporary political movements in Europe, such topics are typical of Beethoven's "middle period". Notable moments in the opera include the "Prisoners' Chorus" (O welche Lust—"O what a joy"), an ode to freedom sung by a chorus of political prisoners, Florestan's vision of Leonore come as an angel to rescue him, and the scene in which the rescue finally takes place. The finale celebrates Leonore's bravery with alternating contributions of soloists and chorus.
Contents
[hide]
1 Composition and performance history
1.1 In the wake of World War II
2 The overtures to Fidelio
3 Roles
4 Synopsis
4.1 Act 1
4.2 Act 2
5 Instrumentation
6 Recordings
7 References
8 External links
Composition and performance history[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)
The work has a long and complicated history of composition: it went through three versions during Beethoven's career, and some of the music was first written as part of an earlier, never-completed opera.
The distant origin of Fidelio dates from 1803, when the librettist and impresario Emanuel Schikaneder worked out a contract with Beethoven to write an opera. The contract included free housing for Beethoven in the apartment complex that was part of Schikaneder's large suburban theater, the Theater an der Wien. Beethoven was to set a new libretto by Schikaneder, entitled Vestas Feuer; however, this libretto was not to Beethoven's liking. He spent about a month composing music for it, then abandoned it when the libretto for Fidelio came to his attention.
The time Beethoven spent on Vestas Feuer was not entirely wasted, as two important numbers from Fidelio, Pizarro's "'Ha! Welch’ ein Augenblick!" and the duet "O namenlose Freude" for Leonora and Florestan, both originated as music for Vestas Feuer. Beethoven remained as a resident of the Theater an der Wien for some time after he had abandoned Vestas Feuer for Fidelio, and was eventually freed from his obligations to Schikaneder when the latter was fired from his post as theater director in 1804.
The theatrical mask contemplated by a putto on the Beethoven monument by Kaspar von Zumbusch (Vienna, 1880) commemorates Beethoven's sole opera in the city where it made its debut
Fidelio itself, which Beethoven began in 1804 immediately after giving up on Vestas Feuer, was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. Although Beethoven used the title Leonore, oder Der Triumph der ehelichen Liebe ("Leonore, or The Triumph of Married Love"), the 1805 performances were billed as Fidelio at the theatre's insistence, to avoid confusion with the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven). Beethoven published the 1806 libretto and, in 1810, a vocal score under the title Leonore, and the current convention is to use the name Leonore for both the 1805 (three-act) and 1806 (two-act) versions and Fidelio only for the final 1814 revision.
The first version with a three-act German libretto adapted by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly premiered at the Theater an der Wien on 20 November 1805, with additional performances the following two nights. The success of these performances was hindered by the fact that Vienna was under French military occupation, and most of the audience were French military officers.
After this premiere, Beethoven was pressured by friends to revise and shorten the opera into just two acts, and he did so with the help of Stephan von Breuning. The composer also wrote a new overture (now known as "Leonore No. 3"; see below). In this form the opera was first performed on 29 March and 10 April 1806, with greater success. Further performances were prevented by a dispute between Beethoven and the theatre management.
In 1814 Beethoven revised his opera yet again, with additional work on the libretto by Georg Friedrich Treitschke. This version was first performed at the Kärntnertortheater on 23 May 1814, again under the title Fidelio. The 17-year-old Franz Schubert was in the audience, having sold his school books to obtain a ticket. The increasingly deaf Beethoven led the performance, "assisted" by Michael Umlauf, who later performed the same task for Beethoven at the premiere of the Ninth Symphony. The role of Pizarro was taken by Johann Michael Vogl, who later became known for his collaborations with Schubert. This version of the opera was a great success, and Fidelio has been part of the operatic repertory ever since.
Beethoven cannot be said to have enjoyed the difficulties posed by writing and producing an opera. In a letter to Treitschke he said, "I assure you, dear Treitschke, that this opera will win me a martyr's crown. You have by your co-operation saved what is best from the shipwreck. For all this I shall be eternally grateful to you."[2]
The full score was not published until 1826, and all three versions are known as Beethoven's Opus 72.[3]
The first performance outside Vienna took place in Prague on 21 November 1814, with a revival in Vienna on 3 November 1822. In its two-act version, the opera was staged in London on 18 May 1832 at the King's Theatre, and in New York on 9 September 1839 at the Park Theatre.[4]
In the wake of World War II[edit]
Florestan (Günther Treptow) and Leonore (Karina Kutz); September 1945, Deutsche Oper Berlin
Fidelio was Arturo Toscanini's first complete opera performance to be broadcast in the USA, over the NBC radio network, in December 1944, by the NBC Symphony Orchestra, featuring soloists from the Metropolitan Opera (though a shortwave broadcast of one act, conducted by Toscanini, had earlier been relayed from a 16 August 1936 performance at Salzburg.) Divided into two consecutive broadcasts, the 1944 performances were later issued by RCA Victor on LPs and CDs.[5]
Fidelio was the first opera performed in Berlin after the end of the World War II, with the Deutsche Oper staging it under the baton of Robert Heger at the only undamaged theatre, the Theater des Westens, in September 1945.[6] At the time, Thomas Mann remarked: "What amount of apathy was needed [by musicians and audiences] to listen to Fidelio in Himmler's Germany without covering their faces and rushing out of the hall!"[7]
Not long after the end of World War II and the fall of Nazism, conductor Wilhelm Furtwängler remarked in Salzburg in 1948:
[T]he conjugal love of Leonore appears, to the modern individual armed with realism and psychology, irremediably abstract and theoretical.... Now that political events in Germany have restored to the concepts of human dignity and liberty their original significance, this is the opera which, thanks to the music of Beethoven, gives us comfort and courage.... Certainly, Fidelio is not an opera in the sense we are used to, nor is Beethoven a musician for the theater, or a dramaturgist. He is quite a bit more, a whole musician, and beyond that, a saint and a visionary. That which disturbs us is not a material effect, nor the fact of the 'imprisonment'; any film could create the same effect. No, it is the music, it is Beethoven himself. It is this 'nostalgia of liberty' he feels, or better, makes us feel; this is what moves us to tears. His Fidelio has more of the Mass than of the Opera to it; the sentiments it expresses come from the sphere of the sacred, and preach a 'religion of humanity' which we never found so beautiful or necessary as we do today, after all we have lived through. Herein lies the singular power of this unique opera.... Independent of any historical consideration ... the flaming message of Fidelio touches deeply.
We realize that for us Europeans, as for all men, this music will always represent an appeal to our conscience.[8]
On 5 November 1955, the Vienna State Opera was re-opened with Fidelio, conducted by Karl Böhm. This performance was the first live television broadcast by ORF at a time when there were about 800 television sets in Austria.
The first night of Fidelio at the Semperoper in Dresden on 7 October 1989 on the occasion of the 40th anniversary of the DDR (East Germany) coincided with violent demonstrations at the city's main train station. The applause after the "Prisoners' Chorus" interrupted the performance for considerable time, and the production by Christine Mielitz (de) had the chorus appear in normal street clothes at the end, signifying their role as representatives of the audience.[9] Four weeks later, on 9 November 1989, the fall of the Berlin Wall signalled the end of East Germany's regime.
The overtures to Fidelio[edit]
Beethoven struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as "Leonore No. 2". Beethoven then focused this version for the performances of 1806, creating "Leonore No. 3". The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the effect of overwhelming the (rather light) initial scenes of the opera. Beethoven accordingly experimented with cutting it back somewhat, for a planned 1808 performance in Prague; this is believed to be the version now called "Leonore No. 1". Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what we now know as the Fidelio overture. As this somewhat lighter overture seems to work best of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.
While some believe that Gustav Mahler introduced the practice of performing "Leonore No. 3" between the two scenes of the second act, something which was common until the middle of the twentieth century, Cairns states that it goes back to the middle of the 19th century and was therefore prior to Mahler.[10] In this location, it acts as a kind of musical reprise of the rescue scene that has just taken place. A new, modern-styled production that premiered in Budapest in October 2008, for example, features the "Leonore No. 3" overture in this location.[11]
Roles[edit]
Role
Voice type
Premiere cast,
First version: 3 acts[12]
20 November 1805
(Conductor: Ignaz von Seyfried)
Premiere cast,
Second version: 2 acts[12]
29 March 1806
(Conductor: Ignaz von Seyfried)[13]
Premiere cast,
Final version: 2 acts
23 May 1814
(Conductor: Michael Umlauf)
Florestan, a prisoner tenor Friedrich Christian Demmer Joseph August Röckel Giulio Radichi
Leonore, his wife, disguised as a man under the alias Fidelio soprano Anna Milder
Rocco, gaoler (guard) bass Rothe Carl Friedrich Weinmüller
Marzelline, his daughter soprano Louise Müller Theresa Bondra
Jaquino, assistant to Rocco tenor Caché Früwald
Don Pizarro, governor of the prison bass-baritone Sebastian Mayer Johann Michael Vogl
Don Fernando, King's minister bass Weinkopf Ignaz Saal
Two prisoners tenor and bass Unknown
Soldiers, prisoners, townspeople
Synopsis[edit]
Two years prior to the opening scene, the Spanish nobleman Florestan has exposed or attempted to expose certain crimes of a rival nobleman, Pizarro. In revenge, Pizarro has secretly imprisoned Florestan in the prison over which he is governor. Simultaneously, Pizarro has spread false rumors about Florestan's death.
The warden of the prison, Rocco, has a daughter, Marzelline, and an assistant, Jaquino, who is in love with Marzelline. The faithful wife of Florestan, Leonore, suspects that her husband is still alive. Disguised as a boy, under the alias "Fidelio", she gains employment working for Rocco. As the boy Fidelio, she earns the favor of her employer, Rocco, and also the affections of his daughter Marzelline, much to Jaquino's chagrin.
On orders, Rocco has been giving the imprisoned Florestan diminishing rations until he is nearly starved to death.
Place: A Spanish state prison, a few miles from Seville
Time: Late 18th century
Act 1[edit]
Lotte Lehmann as Leonore
Jaquino and Marzelline are alone in Rocco's house. Jaquino asks Marzelline when she will agree to marry him, but she says that she will never marry him now that she has fallen in love with Fidelio, unaware that Fidelio is actually Leonore in disguise (Jetzt, Schätzchen, jetzt sind wir allein—"Now, darling, now we are alone"). Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife (O wär ich schon mit dir vereint—"If only I were already united with thee"). Rocco enters, looking for Fidelio, who then enters carrying a heavy load of newly-repaired chains. Rocco compliments Fidelio, and misinterprets her modest reply as hidden attraction to his daughter. Marzelline, Fidelio, Rocco, and Jaquino sing a quartet about the love Marzelline has for Fidelio (Mir ist so wunderbar—"A wondrous feeling fills me", also known as the Canon Quartet).
Rocco tells Fidelio that as soon as the governor has left for Seville, Marzelline and Fidelio can be married. He tells them, however, that unless they have money, they will not be happy. (Hat man nicht auch Gold beineben—"If you don't have money on you"). Fidelio demands to know why Rocco will not allow for help in the dungeons, especially as he always seems to return short of breath. Rocco says that there is a dungeon down there where he can never take Fidelio, which houses a man who has been wasting away for two years. Marzelline begs her father to keep Leonore away from such a terrible sight. Rocco and Leonore sing of courage (Gut, Söhnchen, gut—"All right, sonny, all right"), and Marzelline joins in their acclamations.
Komm, Hoffnung ("Come, Hope")
performed by Alice Guszalewicz
Problems playing this file? See media help.
All but Rocco leave. A march is played as Pizarro enters with his guards. Rocco warns Pizarro that the minister plans a surprise visit tomorrow to investigate accusations of Pizarro's cruelty. Pizarro exclaims that he cannot let the minister discover the imprisoned Florestan, who has been thought dead. Instead, Pizarro will have Florestan murdered (Ha, welch ein Augenblick—"Hah! What a moment!"). As a signal, Pizarro orders that a trumpet be sounded at the minister's arrival. He offers Rocco money to kill Florestan, but Rocco refuses (Jetzt, Alter, jetzt hat es Eile!—"Now, old man, we must hurry!"). Pizarro says he will kill Florestan himself instead, with Rocco forced to dig the grave in a ruined well in the dungeons. Once the grave is ready, Rocco is to sound the alarm, upon which Pizarro will come into the dungeon and kill Florestan. Fidelio, hearing Pizarro's plot, is agitated, but is soothed by thoughts of Florestan (Abscheulicher! Wo eilst du hin? and Komm, Hoffnung, lass den letzten Stern—"Scum! Where are you off to so fast?" and "Come, hope, let the last star").
Jaquino once again begs Marzelline to marry him, but she continues to refuse. Fidelio, hoping to discover Florestan, asks Rocco to let the poor prisoners roam in the garden and enjoy the beautiful weather. Marzelline similarly begs him, and Rocco agrees to distract Pizarro while the prisoners are set free. The prisoners, ecstatic at their temporary freedom, sing joyfully (O welche Lust—"O what a joy"), but remembering that they might be caught by the prison's governor Pizarro, are soon quiet.
After meeting with Pizarro, Rocco reenters and tells Fidelio that Pizarro will allow the marriage, and Fidelio will also be permitted to join Rocco on his rounds in the dungeon (Nun sprecht, wie ging's?—"Speak, how did it go?"). Rocco and Fidelio prepare to go to Florestan's cell, with the knowledge that he must be killed and buried within the hour. Fidelio is shaken; Rocco tries to discourage Fidelio from coming, but Fidelio insists. As they prepare to leave, Jaquino and Marzelline rush in and tell Rocco to run, as Pizarro has learned that the prisoners were allowed to roam, and is furious (Ach, Vater, Vater, eilt!—"O, father, father, hurry!").
Before they can leave, Pizarro enters and demands an explanation. Rocco pretends that the prisoners were given a little freedom in honor of the Spanish king's name day, quietly suggesting that Pizarro save his anger for the prisoner in the dungeon below. Pizarro tells him to hurry and dig the grave, and then announces that the prisoners will be locked up again. Rocco, Leonore, Jacquino, and Marzelline reluctantly usher the prisoners back to their cells. (Leb wohl, du warmes Sonnenlicht—"Farewell, you warm sunshine").
Act 2[edit]
Rocco (Wilhelm Schirp) and Marzelline (Irma Beilke); September 1945, Deutsche Oper Berlin
Florestan is alone in his cell, deep inside the dungeons. He sings first of his trust in God, and then has a vision of his wife Leonore coming to save him (Gott! Welch Dunkel hier!—"God! What darkness here" and In des Lebens Frühlingstagen—"In the spring days of life"). Florestan collapses and falls asleep, while Rocco and Fidelio come to dig his grave. As they dig, Rocco urges Fidelio to hurry (Wie kalt ist es in diesem unterirdischen Gewölbe!—"How cold it is in this underground chamber" and Nur hurtig fort, nur frisch gegraben—"Come get to work and dig", the "Gravedigging Duet").
Florestan awakes and Fidelio recognizes him. When Florestan learns that the prison he is in belongs to Pizarro, he asks that a message be sent to his wife, Leonore, but Rocco says that it is impossible. Florestan begs for a drop to drink, and Rocco tells Fidelio to give him one. Florestan does not recognize Fidelio, his wife Leonore in disguise, but tells Fidelio that there will be reward for the good deed in Heaven (Euch werde Lohn in bessern Welten—"You shall be rewarded in better worlds"). Fidelio further begs Rocco to be allowed to give Florestan a crust of bread, and Rocco consents.
Rocco obeys his orders and sounds the alarm for Pizarro, who appears and asks if all is ready. Rocco says that it is, and instructs Fidelio to leave the dungeon, but Fidelio hides instead. Pizarro reveals his identity to Florestan, who accuses him of murder (Er sterbe! Doch er soll erst wissen—"Let him die! But first he should know"). As Pizarro brandishes a dagger, Fidelio leaps between him and Florestan and reveals her identity as Leonore, the wife of Florestan. Pizarro raises his dagger to kill her, but she pulls a gun and threatens to shoot him.
Just then, the trumpet is heard, announcing the arrival of the minister. Jaquino enters, followed by soldiers, to announce that the minister is waiting at the gate. Rocco tells the soldiers to escort Governor Pizarro upstairs. Florestan and Leonore sing to their victory as Pizarro declares that he will have revenge, while Rocco expresses his fear of what is to come (Es schlägt der Rache Stunde—"Revenge's bell tolls"). Together, Florestan and Leonore sing a love duet (O namenlose Freude!—"O unnamed joy!").
Here, the overture "Leonore No. 3" is sometimes played.
The prisoners and townsfolk sing to the day and hour of justice which has come (Heil sei dem Tag!—"Hail to the day!"). The minister, Don Fernando, announces that tyranny has ended. Rocco enters, with Leonore and Florestan, and he asks Don Fernando to help them (Wohlan, so helfet! Helft den Armen!—"So help! Help the poor ones!"). Rocco explains how Leonore disguised herself as Fidelio to save her husband. Previously in love with Fidelio, Marzelline is shocked. Rocco describes Pizarro's murder plot, and Pizarro is led away to prison. Florestan is released from his chains by Leonore, and the crowd sings the praises of Leonore, the loyal savior of her husband (Wer ein holdes Weib errungen—"Who has got a good wife").
Instrumentation[edit]
The orchestra consists of 1 piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, timpani, and strings. There is also an offstage trumpet.
Recordings[edit]
Main article: Fidelio discography
References[edit]
Notes
Jump up ^ Johnson 1998, p. 182
Jump up ^ In Klemperer and Anderson 1986, p. ??
Jump up ^ Johnson 1998, p. 183
Jump up ^ Cairns, p. 43
Jump up ^ "Toscanini conducts Beethoven's Fidelio" Archived 27 December 2013 at the Wayback Machine., details and reviews
Jump up ^ Conchological Miscellany, Volume 4, p. 23; The Cambridge Companion to Opera Studies, Cambridge University Press, 2012, p.45.
Jump up ^ Berthold Hoeckner, Programming the Absolute: Nineteenth-century German Music and the Hermeneutics of the Moment, Princeton University Press, 2002, p. 47.
Jump up ^ Khpye, Eonikoe, "Estate and Collection of George and Ursula Andreas", The National Herald, 13 November 2010, accessed 17 April 2011.
Jump up ^ "Kurz in Dresden" by Martin Walser, Die Zeit, 20 October 1989 (in German)
Jump up ^ Cairns 2001, p. 45
Jump up ^ Nepszabadsag, 7 October 2008 (in Hungarian)
^ Jump up to: a b Johnson 1998, p. 183: "The title Leonore is now commonly used to designate the first two versions of the opera"
Jump up ^ Johnson 1998, p. 183: The only other performance of this version was on 10 April 1806
Sources
Cairns, David (2001), Fidelio, oder Die eheliche Liebe (Fidelio, or Married Love) in Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam. pp. 43–46. ISBN 0-14-029312-4
Johnson, Douglas, (1998), Fidelio in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Two, pp. 182–187. London: Macmillan Publishers, Inc. ISBN 0-333-73432-7 ISBN 1-56159-228-5
Klemperer, Otto; Martin J. Anderson (1986), Klemperer on Music: Shavings from a Musician's Workbench, Toccata Press, 1986. ISBN 978-0907689133
Warrack, John, and Ewan West (1992). The Oxford Dictionary of Opera. Oxford and New York: Oxford University Press. ISBN 0-19-869164-5
External links[edit]
Wikimedia Commons has media related to Fidelio.
Wikisource has the text of the 1920 Encyclopedia Americana article Fidelio.
Fidelio: Scores at the International Music Score Library Project (IMSLP)
Ilias Chrissochoidis, "Dramatic pairing in Fidelio: A structuralist approach," College Music Symposium 52 (2013).
Performance history, from opera.stanford.edu}
Léonore, ou l'amour conjugal; fait historique en deux actes et en prose mêlée de chantes (in French) (origin of Fidelio's libretto)
Fidelio (character) on IMDb
'updated' synopsis by Brooklyn Repertory Opera
Description of Beethoven's Fidelio on all-about-beethoven.com
Fidelio at the Opera Company of Philadelphia Archived 27 April 2009 at the Wayback Machine.
Opera Guide Synopsis – Libretto – Highlights
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interlanguage-link interwiki-hy
display: none;

values:
https://it.wikipedia.org/wiki/Fidelio
Fidelio – Italian
it
it
interlanguage-link-target

values:
interlanguage-link interwiki-it
display: none;

values: פידליו – Hebrew

values:
interlanguage-link interwiki-he
display: none;

values: ფიდელიო – Georgian

values:
interlanguage-link interwiki-ka
display: none;

values:
https://hu.wikipedia.org/wiki/Fidelio
Fidelio – Hungarian
hu
hu
interlanguage-link-target

values:
interlanguage-link interwiki-hu
display: none;

values:
https://nl.wikipedia.org/wiki/Fidelio
Fidelio – Dutch
nl
nl
interlanguage-link-target

values:
interlanguage-link interwiki-nl
display: none;

values:
https://no.wikipedia.org/wiki/Fidelio
Fidelio – Norwegian
no
no
interlanguage-link-target

values:
interlanguage-link interwiki-no
display: none;

values:
https://oc.wikipedia.org/wiki/Fidelio
Fidelio – Occitan
oc
oc
interlanguage-link-target

values:
interlanguage-link interwiki-oc
display: none;

values:
https://pl.wikipedia.org/wiki/Fidelio
Fidelio – Polish
pl
pl
interlanguage-link-target

values:
interlanguage-link interwiki-pl
display: none;

values:
https://pt.wikipedia.org/wiki/Fidelio
Fidelio – Portuguese
pt
pt
interlanguage-link-target

values:
https://ro.wikipedia.org/wiki/Fidelio
Fidelio – Romanian
ro
ro
interlanguage-link-target

values:
interlanguage-link interwiki-ro
display: none;

values:
https://qu.wikipedia.org/wiki/Fidelio
Fidelio – Quechua
qu
qu
interlanguage-link-target

values:
interlanguage-link interwiki-qu
display: none;

values: Фиделио – Russian

values:
https://sco.wikipedia.org/wiki/Fidelio
Fidelio – Scots
sco
sco
interlanguage-link-target

values:
interlanguage-link interwiki-sco
display: none;

values:
interlanguage-link interwiki-simple
display: none;

values:
https://sl.wikipedia.org/wiki/Fidelio
Fidelio – Slovenian
sl
sl
interlanguage-link-target

values:
interlanguage-link interwiki-sl
display: none;

values:
https://sh.wikipedia.org/wiki/Fidelio
Fidelio – Serbo-Croatian
sh
sh
interlanguage-link-target

values:
interlanguage-link interwiki-sh
display: none;

values:
https://fi.wikipedia.org/wiki/Fidelio
Fidelio – Finnish
fi
fi
interlanguage-link-target

values:
interlanguage-link interwiki-fi
display: none;

values:
https://sv.wikipedia.org/wiki/Fidelio
Fidelio – Swedish
sv
sv
interlanguage-link-target

values:
interlanguage-link interwiki-sv
display: none;

values: ฟิเดลิโอ – Thai

values:
interlanguage-link interwiki-th
display: none;

values:
https://tr.wikipedia.org/wiki/Fidelio
Fidelio – Turkish
tr
tr
interlanguage-link-target

values:
interlanguage-link interwiki-tr
display: none;

values:
interlanguage-link interwiki-uk
display: none;

values:
https://vi.wikipedia.org/wiki/Fidelio
Fidelio – Vietnamese
vi
vi
interlanguage-link-target

values:
interlanguage-link interwiki-vi
display: none;

values: All languages (initial selection from common choices by you and others)

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Fidelio rootpage-Fidelio skin-vector action-view