**Note: this is a panel discussion, not a musical performance.**

Tickets are free, but advance registration is highly recommended. To register, visit: [HERE](https://purchase.chicagooperatheater.org/ChooseSeats/7401)

Join us for an enlightening discussion that delves into the contrasting interpretations of the story of Leonore by two remarkable composers: Ludwig van Beethoven and Ferdinando Paër.

This talk, moderated by WFMT’s LaRob K. Rafael, will explore the origins of the source material that inspired both operas and examine how each composer-librettist team uniquely addresses the themes of liberty, revolution, self-sacrifice, love and justice. Our discussion also provides the opportunity to bring together the artistic teams behind Lyric Opera of Chicago’s upcoming production of Beethoven’s Fidelio (conductor Enrique Mazzola and director Matthew Ozawa), and Chicago Opera Theater’s upcoming production of Paër’s Leonora (conductor Dame Jane Glover and director Lawrence Edelson).

Beginning with an exploration of the true events that inspired the libretti of both operas, the discussion will then move to a reflection on the musical and dramatic choices made by Paër in writing Leonora, and Beethoven in writing *Fidelio* \- and how Beethoven was likely influenced by Paër\, whose score he had in his possession while composing *Fidelio.* While both operas tell essentially the same story, it is fascinating to look at the choices each composer made side by side. Similarly, we will look at how this story is being interpreted in the two upcoming productions for Chicago audiences.

“*Fidelio*, Beethoven's only opera, is demanding, revolutionary, and shockingly relevant. It is a story of hope, self-sacrifice, love, and liberation,” explains Ozawa. “The questions we now ask ourselves are: Who is afflicted by oppression globally? What does shining a light on injustice look like? How is true freedom achieved? I am excited to delve into the piece's history, examine these themes, and ask the questions that will lead us to learn from Leonore's journey and celebrate the power of love and collective action.” In considering Paër’s lesser known opera, Edelson considers, “It is remarkable that there were actually four operas written based on Jean Nicolas Bouilly’s 1798 libretto *Léonore, ou L’amour conjugal*. Paër’s *Leonora*, the second of these operas, is an opera semiseria, juxtaposing serious subject matter with more comic scenes. In addition, unlike in Beethoven’s opera, there is no chorus, which further shifts the dynamic of the narrative. I constantly find myself asking, how is it that people can ignore – or even be oblivious to – political oppression that surrounds them? I am thrilled that we have the rare opportunity to look at these two operas side by side, with two very different approaches to their realization not only musically, but on stage as well.”

Information on Lyric Opera of Chicago’s upcoming production of *Fidelio* (September 26 – October 10, 2024) is available at: **[lyricopera.org/fidelio](http://lyricopera.org/fidelio)**

Information on Chicago Opera Theater’s upcoming production of *Leonora* (October 1-6, 2024), is available at: **[chicagooperatheater.org/leonora](https://www.chicagooperatheater.org/leonora)**

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Beethoven and Paear: Contrasting Interpretations of the French Revolution

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Beethoven and Paear: Contrasting Interpretations of the French Revolution

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