Terror and Transcendence in the Operatic Prison, 1790–1815

Abstract

Abstract Act 2, scene 1 of Beethoven's 1814 version of Fidelio and the recitative and aria for Amenaïïde from Rossini's Tancredi are the only prison scenes from the period 1790–1815 that are still a part of the performing repertory, but prison scenes were a common feature in operas from these decades. The revolutionary and post-revolutionary period was also a time in which ideas about incarceration were undergoing profound changes—changes that are reflected on the operatic stage. This essay examines the political and aesthetic meanings of the operatic prison scene, providing a broader context for the revisions that Beethoven made to Florestan's recitative and aria. The famous oboe melody that introduces the final section of this scene marks both a turning point in the drama and a self-reflexive moment in the history of opera, in which the dramaturgy of the prison intersects with the philosophy of musical idealism. In this sense, the passage from terror to transcendence is not merely a common topos of prison scene plots; it is also a paradigm for composition, reception, and musico-dramatic meaning in early nineteenth-century opera.