Performance took place on Wednesday, October 25th, 2000.

The production by Jurgen Flimm was excellent. He updated the story to our century. The first act had a prison on the right (with 3 stories of cells), in the middle a huge metal structure that ran across from the back of the state to the front (there were some tables where the guards unpacked weapons from boxes, Pizzaro burned the letter from the Minister, etc.) and to the right on the back a door to Pizzaro's office and in the middle two huge gates/doors where trucks could come in and on the front a door that served as the entrance to Rocco's house. All the characters were dressed with modern clothes, Rocco and Pizzaro wearing a suit, Marzelinne a red dress, Jaquino and Leonore military costumes.

In the second Act, there was a huge metal structure (more like a giant well or cove) where Florestan lied tied to metal chains. There was also a high staircase that Rocco, Leonore and later Pizarro had to descend to meet Florestan.

In the end of second Act, the stage was more or less bare except for a high structure where there was a statue.

Leonore and Marzelinne were really dating in the first Act with kisses and hugs being exchanged. All in all, Jurgen saw Leonore as a woman determined to free her husband at any cost, even if that involved, travesting as a man and even have a relationship with a woman. Jaquino was also different in this production, he was portrayed as a military, very abrupt and following Pizarro's orders to the letter (even menacing Rocco at gun point). Rocco and Pizarro were well characterized too. 

Now to the singing. Karita Mattila was a pleasant surprise. I expected a Mozartian soprano that is now transitioning to heavier roles, so not a very large voice but well produced and possibly with some ring. My expectations were met and more ! Mattila sang not only beautifully but with a lot of energy and commitment. Her aria in Act 1 was superb ! She had no fear, projecting her voice with full power over the orchestra and at the end of the aria, managed a powerful high note that was really impressive. Her second act was as good, she had the vocal stamina to endure the duet ("O nammenlose Freude") and the final scenes. She is by far the best Lenore I have ever seen, a truly great assumption of this difficult role. If she continues like this, she may well be the next diva and can be a great Isolde, Sieglinde and also some Verdi (I'd really love to hear her sing La Forza's Leonora).

Ben Heppner was very good. He started his aria with a poignant "Gott !" that rang out loud and clear. However, his tone is sometimes too clear for the role. Since he is a true tenor, his voice does not have a middle range of a dramatic tenor and some scenes could benefit from more power in the middle range. He was always musical though and sang the role with apparent ease.

René Pape was superb. He sang his aria exquisitely and sang all the pianos and has a powerful and beautiful voice. The best Rocco I heard so far.

Falk Struckmann was also very good. He handled his difficult aria with ease and portrayed a true villain.

Robert Lloyd sang very well as Don Fernando. The role is short, but the music is very difficult and he coped well with it.

Jennifer Welch-Babidge who was new to me sang very well and had lovely high notes and a beautiful voice. Matthew Polenzani was a good Jaquino.