The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the effect of overwhelming the (rather light) initial scenes of the opera. Beethoven accordingly experimented with cutting it back somewhat, for a planned 1808 performance in Prague; this is believed to be the version now called "Leonore No. 1". Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what we now know as the Fidelio overture. As this somewhat lighter overture seems to work best of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.
Gustav Mahler introduced the practice, common until the middle of the twentieth century, of performing "Leonore No. 3" between the two scenes of the second act. In this location, it acts as a kind of musical reprise of the rescue scene that has just taken place. A new, modern-styled production that premiered in Budapest in October 2008, for example, features the "Leonore No. 3" overture in this location.
More pieces by Beethoven
- Overture, Coriolan
- Overture, Leonore No. 3
- Overture, The Creatures of Prometheus
- Piano Concerto No. 1 (Op. 15)
- Piano Concerto No. 2
- Piano Concerto No. 3
- Piano Concerto No. 4
- Piano Concerto No. 5, Emperor
- Symphony No. 6, Pastoral
- Symphony No. 7
- Symphony No. 9, Choral
- Triple Concerto for Piano, Violin and Cello
- Violin Concerto