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Already in 1827, only months after the composer died, came the first hints of equivocation, the first faint tones of defensiveness that have followed Beethoven's masterwork, Fidelio, down to the present day. In his brief biography, Johann Aloys Schlosser wrote, "The opera Fidelio has succeeded wherever it has been well performed; it should not be judged frivolously. The listener who approaches it seriously and with reverence will surely be richly rewarded."
By all accounts, Fidelio did suffer in early performances, and its vocal demands and dramatic hurdles have been impediments to full and certain enjoyment ever since. Even today, there is a leitmotif of happy ...