Fidelio, Royal Opera House, review ★★★★★

When a new production of Beethoven's only opera, Fidelio, opened in 2020, Russia had not invaded Ukraine and Israel had not experienced the assaults of 7 October 2023 or retaliated. With the production's revival, the silent and detached observers in Act Two of war and political persecution take on a new significance.

We are all guilty of standing by and doing nothing, in the face of suffering, suggests this unusual interpretation. The accusation seems more pertinent than even director Tobias Kratzer could have envisaged in 2020.

The idea that the opera is about us, as much as it is about the characters on stage, is planted as the audience arrives to mirror-image footage of the Royal Opera House filling up. And light floods the auditorium when the curtain rises on Act Two, where political prisoner Florestan languishes not in a cramped dark cell but in plain sight, surrounded by the wary watchful.

Christina Gansch as Marzelline. Photo: Tristram Kenton

Beethoven's opera is set during the French revolution's reign of terror, but is rendered timeless by the modern dress and white box set of this all-important Act Two. Coming to Florestan's rescue is his wife Leonore, who has dressed as a man, called herself Fidelio, and worked her way into the prison, enjoying the warden's confidence – and, sadly, the affections of the man's daughter.

Poor Marzelline, saddled with love-sick Joaquino and in love with 'Fidelio', whose true identity she stumbles upon but, heroically, does not reveal. Austrian soprano Christina Gansch sings Marzelline in the evening's stand-out performance, with Michael Gibson as drippy Joaquin. But more of him later…

Peter Rose as the warden, Phillip Rhodes as the clear-sighted Minister and Jochen Schmeckenbecher as the cruel governor, Pizzarro, all give characterful performances. Pizzarro arrives on horseback and the black horse is eye-catching – too eye-catching, of course (see 'Never act with children and animals'), until its eventual exit. There is an impressive cameo from South African baritone and Jette Parker artist Siphe Kwani as First Prisoner.

Jennifer Davies as Fidelio. Photo: Tristram Kenton

As Fidelio, mezzo-soprano Jennifer Davies gives a warm performance, her rounded tone and easy presence making her a natural if unwitting rival for Marzelline's love. American tenor Eric Cutler is a natural Florestan, a man so broken he does not even recognise his disguised saviour, who murmurs their song as a clue.

Kratzer gives disappointed Joaquino an important role in the closing bars that reminds of us an awful truth: the seeds of the next conflict lie in the resolution of the one before.

Alexander Soddy, conducting, enjoys the massive musical range of this thrilling score, from its elegant Mozartian opening through chamber-music like intimacy to big symphonic statements. Fabulous playing from the Orchestra of the Royal Opera combines sizzling ensemble work with heart-stopping woodwind solos.

Siphe Kwani (left) as First Prisoner. Photo: Tristram Kenton

The male chorus of prisoners is tastefully dishevelled in Rainer Sellmaier's design. The men who come blinking into the light look too clean and healthy by half, and their brief recreation felt a little lowkey on opening night. But perhaps my expectation proves Kratzer's point: it's too easy to look in on suffering and forget what it really, really entails.

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Fidelio is sung in German, with English surtitles. Further performances are on 12, 16, 19, 23 and 26 Oct. Click here for booking