The Valley of Hatsu-Se, for soprano, flute, clarinet, cello and piano, Op. 62 (1965) – on early Japanese poetry Don Fernando sings Des besten Königs Wink und Wille! (On behalf of our King I come to you… ). He has a list of all the prisoners who shall be freed. But Florestan is not on it, because he’s supposed to be dead. Last March, BBC4 aired its programme In Their Own Words: 20th-Century Composers, which collected rare footage of such composers as Igor Stravinsky, Aaron Copland and Elisabeth Lutyens. The programme was a reminder of the respect in which Elisabeth — one of Edwin and Emily’s five children, who was born in London in 1906 — is held today, despite the challenging nature of her avant-garde music. Elisabeth was highly regarded by her peers, not least by Stravinsky, with whom she became friends. A photo in the 1986 biography of her, A Pilgrim Soul, shows them together. With her characteristic, rather barbed wit, Elisabeth described him — on seeing a photo of him before they met — as having ‘a face like a very piercing dachshund with glasses… and a squint’. My mother had a large appetite for life. My sister and I miss her a lot, we think about her a lot. When she was studying in Paris, she had a wide circle of friends. She was very sociable. She felt very close to the old and to the very young, especially babies. She went bonkers over babies. She was also very affectionate towards and supportive of her pupils. She used to send one of them to buy her underwear, because she hated shopping when she was older. a b c d e Dalton, James. "Lutyens, (Agnes) Elisabeth (1906–1983), composer", Oxford Dictionary of National Biography, Oxford University Press, 2004. Retrieved 8 September 2020 (subscription or UK public library membership required)

The opera is "first and foremost a piece of theatre," Malone continued, but also a "campaigning piece", arguing that people should choose for themselves instead of being guided by dogma or cultural pressure. "We're not going to solve problems like smallpox, polio or FGM unless we think rationally, work together and we use our imagination, instead of doctrines which prevent us from helping each other." Lloyd, Stephen (27 July 2001). William Walton: Muse of Fire. Boydell Press. p.263. ISBN 9780851158037 . Retrieved 27 July 2020– via Google Books.

The ending of the dungeon scene leaves something to desire. This is the turning point of the opera, where the killer becomes the prey. And it’s also where Leonore’s disguise is revealed and explained. But the quartet between the four main characters is quite a bit of shouting and not much can be understood from the words. It’s also extremely difficult, especially for the soprano, which could make it even more screamy. Elisabeth Lutyens was born in London on 9 July 1906. She was one of the five children of Lady Emily Bulwer-Lytton (1874–1964), a member of the aristocratic Bulwer-Lytton family, and the prominent English architect Sir Edwin Lutyens. Elisabeth was the elder sister of the writer Mary Lutyens [1] and aunt of the 4th Viscount Ridley and the politician Nicholas Ridley.

In December 1945 it was the first Opera to perform in Berlin in the only theater still standing after the war, Theater des Westens. Former EastEnders actor who won the eighth series of I'm a Celebrity...Get Me Out of Here! and the twelfth series of Dancing on Ice When he, Leonore , and Rocco appears it all falls into place. Florestan is a friend of the Minister, and when Rocco explains what is going on, Fernando arrests Pizarro. The Opera ends with a big final where everybody is on stage. If you are familiar with the end of the ninth symphony, this is something similar. Full speed ahead from all the singers, the chorus, and the orchestra. The two servants work away with the tomb, but Fidelio does all she can to be as close as possible to the prisoner. She’s still not sure if it is her spouse or someone else.Now comes one of the highlights of the opera. The chorus Oh welche Lust in freier Luft… Den atem einzuheben. (Oh, what pleasure, to freely inhale the fresh air.) The setting isn’t very historically interesting as Beethoven anyway just wanted to write about freedom in general and personal freedom in particular. He was very enthusiastic about the French revolution (… and of Napoleon until the French general declared himself Emperor in 1804.). The idea of individual freedom for everybody, justice, and the struggle for equality and brotherhood between men was a constant companion of the composer’s. In the following Aria O wär’ ich schon mit dir vereint (Oh, If I was already united with you) she explains that she’s instead madly in love with the new boy who’s arrived at the Prison to work as a handyman, Fidelio.