Beethoven is said to be a misogynist. He had had many lovers, one after the other, but she thought that the ideal woman did not exist for him and therefore hated real women. That's a lot to say. It's very easy to build such a theory when the things of love for a person have gone wrong. It may be fun to make such ideas about such an important character throughout history.

But above all these issues, we should look at the composer's work, and if we do, we'll see that Beethoven honored the woman with the Fidelio opera. In this opera we find jail, darkness, lack of freedom, oppression and evil, and what breaks with all of that is a woman. Fidelio (disguised as Leonore man) does anything to save her husband and gets it. Beethoven doesn't see the woman as a secondary creature. Leonore-Fidelio has an incredible force to avoid any obstacles. He knows what he wants, and he struggles to achieve it.

Fidelio is a beautiful masterpiece. It can be said that with this work Beethoven goes from pure classicism to romanticism. The work has a rich and attractive orchestration in which we find precious and truly complicated yarns.

The production of the ABAO, of the Teatro de la Maestranza in Seville, has an expressive but simple staging. Scene director José Carlos Plaza critically reflects this cruel cell and “moves” the characters.

Perhaps the most sensitive part was that of the soloists. Soprano Elena Pankratova has a perfect technical voice, but she lacked expressiveness to make a Leonore close and fleshy. Tenor Peter Wedd saved the diabolical difficulties of his score, but left us freezing. The lower Tijil Faveyts performed Rocco credible, but the best interpretation was made by the lower Sebastian Holec in the role of Don Pizarro, powerful and energetic. Anett Fritsch (Marzelline) and Mikeldi Atxalandabaso (Jaquino), for their part, stood out for their brilliant performance in the finals, and the direction of Juanjo Mena, great. The two overtures that were touched, the opening and the second act, were very enjoyable.