fourth in 1814.  It is curious that there has always been a confusion in their numbering, and the error remains to this day.  What is called No. 1 is in reality No. 3, and was composed for a performance of the opera at Prague, the previous overture having been too difficult for the strings.  The splendid “Leonora,” No. 3, is in reality No. 2, and the No. 2 is No. 1.  The fourth, or the “Fidelio” overture, contains a new set of themes, but the “Leonora” is the grandest of them all.

The entire action of the opera transpires in a Spanish prison, of which Don Pizarro is governor and Rocco the jailer.  The porter of the prison is Jacquino, who is in love with Marcellina, daughter of Rocco, and she in turn is in love with Fidelio, Rocco’s assistant, who has assumed male disguise the better to assist her in her plans for the rescue of her husband, Florestan, a Spanish nobleman.  The latter, who is the victim of Don Pizarro’s hatred because he had thwarted some of his evil designs, has been imprisoned by him unknown to the world, and is slowly starving to death.  Leonora, his wife, who in some way has discovered that her husband is in the prison, has obtained employment of Rocco, disguised as the young man Fidelio.

The opera opens with a charming, playful love-scene between Jacquino and Marcellina, whom the former is teasing to marry him.  She puts him off, and as he sorrowfully departs, sings the Hope aria, “Die Hoffnung,” a fresh, smoothly flowing melody, in which she pictures the delight of a life with Fidelio.  At its close Rocco enters with the despondent Jacquino, shortly followed by Fidelio, who is very much fatigued.  The love-episode is brought out in the famous canon quartet, “Mir ist so wunderbar,” one of the most beautiful and restful numbers in the opera.  Rocco promises Marcellina’s hand to Fidelio as the reward of her fidelity, but in the characteristic and sonorous Gold song, “Hat man nicht auch Geld daneben,” reminds them that money as well as love is necessary to housekeeping.  In the next scene, while Don Pizarro is giving instructions to Rocco, a packet of letters is delivered to him, one of which informs him that Don Fernando is coming the next day to inspect the prison, as he has been informed that it contains several victims of arbitrary power.  He at once determines that Florestan shall die, and gives vent to his wrath in a furious dramatic aria ("Ha! welch ein Augenblick!").  He attempts to bribe Rocco to aid him.  The jailer at first refuses, but subsequently, after a stormy duet, consents to dig the grave.  Fidelio has overheard the scheme, and, as they disappear, rushes forward and sings the great aria, “Abscheulicher!” one of the grandest and most impassioned illustrations of dramatic intensity in the whole realm of music.  The recitative expresses intense horror at the intended murder, then subsides into piteous sorrow, and at last breaks out into the glorious adagio, “Komm Hoffnung,” in which she sings of the immortal power of love.  The last scene of the act introduces the strong chorus of the prisoners as they come out in the yard for air and sunlight, after which Rocco relates to Fidelio his interview with Don Pizarro.  The latter orders the jailer to return the prisoners to their dungeons and go on with the digging of the grave, and the act closes.