Opera Plots I - MDC Faculty Home Pages

despatches from Don Fernando, Governor of Seville, to the effect that he is about to visit the
prison that evening, and fearing lest his unjust incarceration and slow torturing of Florestan will be
discovered by his superior officer, at once gives orders to the jailer to find means to murder the
dungeon prisoner immediately. Rocco, however, refuses to do so; whereupon Pizarro declares he
will himself do the deed, and bids the jailer dig a grave in the dungeon ready for the corpse which
command Rocco dares not refuse to carry out, for fear of losing his employment. Fidelio overhears
this conversation; and knowing now that her husband is indeed in the dungeon, she is horrified at
the new danger he is in, and determines to save him. She begs Rocco to take her with him to the
dungeon; and, after some reluctance, the old man consents, being secretly glad of the supposed
youth's help.
In the second act Rocco and Fidelio are discovered at their dreadful task, the poor captive lying in
an emaciated and semi-conscious state upon the floor. Leonora is heartbroken at the wretched
appearance of her once-gallant husband; but, concealing her distress, she proceeds to revive him
with wine and bread when Rocco's back is turned. Their work is interrupted by the entrance of
Pizarro, whose patience is exhausted, and fearing his superior will arrive before the traces of his
villainy are hidden, has now come to despatch the captive without further delay; and he orders the
jailer and the youth from the dungeon. Fidelio, however, only hides behind a pillar; and when
Pizarro, after taunting the half-fainting captive, and exulting in his vengeance, attempts to stab
him, the faithful wife, rendered reckless by her despair, rushes between the pair to shield her
beloved husband, revealing her true identity at the same moment. As Pizarro starts back in
amazement, the brave woman presents a pistol, and, keeping him covered, prevents his further
advance. At this moment fanfare without announces the arrival of Don Fernando; and, choking
with rage, the baffled Pizarro is forced to depart and offer greeting to his superior. Leonora and
Florestan embrace with joy and thankfulness, feeling that they may now secure justice; and in the
next act, on Don Fernando giving orders for all the prisoners to be brought forth to receive a free
pardon granted by the King, the tortured and emaciated dungeon captive is recognised by the
Governor, and the whole story of his unjust captivity and the murderous designs of his enemy is
revealed. Pizarro is led away in chains; and Leonora has the joy of removing her husband's
shackles with her own hands, and receives the highest praises from all for her noble fidelity. The
only sad person present now is Marcellina, who is much disappointed on discovering her admired
Fidelio to be an impostor; but she presently contents herself by accepting the renewed advances of
humble Jaquino, the porter, who has long been her devoted slave, but has had to stand aside during
her pursuit of the handsome and elegant Fidelio.
14. NORMA
Grand Opera in Two Acts By Vincenzo Bellini
Libretto By Romani
First Produced Milan, 1832
Chief Characters Norma, Adalgisa, Pollione, Oroviso (High Priest of the Druids)
THE action takes place in ancient Gaul, after its invasion by the Romans. Oroviso, the High Priest
of the Druids, has a daughter, Norma, chief of the priestesses, who has broken her sacred vows,
and, unknown to all, has entered into a marriage with a Roman officer, Pollione, by whom she has