Review: Beethoven's Letters
The 2021 4MBS Festival of Classics program (23 Nay-6 June) included a number of major highlights. I was fortunate to see three special performances: Ode to Joy (Maestro Dane Lam conducting Beethoven 9, The University of Queensland Symphony Orchestra), Beethoven’s Letters (created and performed by Eugene Gilfedder) and the closing Opera Spectacular (with the Brisbane Symphony Orchestra, conducted by Maestro Lam).
Each event was special and memorable. I know that audiences will have opportunities to celebrate the excellence of Maestro Lam, the soloists of the Opera Spectacular, and the performers of the UQ and Brisbane Symphony orchestras. But I also hope that Gilfedder has plans to bring Beethoven’s Letters to wider audiences.
In adapting Beethoven’s correspondence as a one-hour one-man show, Eugene Gilfedder has created a masterpiece. I am sure that taking the time to read each some of Beethoven’s extensive correspondence (much of which is freely available online) would be enlightening, and of course listening to any of Beethoven’s works will be an emotional experience (when listening to 4MBS, of course!). But to be immersed in words of the man himself, brought to life by a talented actor/creator/dramatist/director, is a special opportunity to gain insight into the challenges, frustrations, and torments of this ground-breaking composer.
Picture: Eugene Gilfedder in Beethoven’s Letters (Credit: Creative Futures Photography).
Picture (L to R): Eugene Gilfedder and Mikayla Hosking in Beethoven’s Letters (Credit: Creative Futures Photography).
The letters were occasionally funny (for example, in the chasing of quills), often business-like (offering a selection of works priced in ducats), and frequently poignant. We heard of the loss of his mother (his ‘best friend’), the challenge of taking on responsibility for his nephew, and the difficulties of retaining staff (I loved the reading of the diary, listing the various staff changes). Notable insights included the view that ‘a symphony should be worth more’ (I think we all agree on that point), that artists should perhaps be able to receive what they need in their lifetime rather than deal with the ‘tiresome business’ of finance (‘there ought to be a market for art’), and that reviewers really should know their place!
The staging was excellent, the lighting on-point, the props sufficient, the costumes well-chosen, and the stage manager (Mikayla Hosking) was an effective presence. But it was Gilfedder who was the star, giving a virtuoso performance of an artist facing his own frailties.
Many of our audience were moved to tears, as they mourned the ‘humiliations’ felt by Beethoven and his gradual loss of hearing. The torments of the various treatments, and the pain at having to withdraw from society, were expressed in Beethoven’s own words. But the anguish of the experience was sensitively conveyed by Gilfedder—from major outbursts through to the smallest of ‘conductor’s’ gestures. I found it particularly moving that the show began, and almost concluded, with Beethoven resting on the piano keyboard, and we all felt Beethoven’s humiliation on reading the message that he should not continue with conducting the performance of Fidelio.
Toward the end of the performance, Gildedder quoted Beethoven’s view that ‘What is difficult is also great.’ I’m so glad that Gilfedder undertook this challenging task of bringing Beethoven and his words to life at the Ron Hurley Theatre. I genuinely hope that this is a show that travels, and is seen by a wider audience. And I’m delighted that the premiere was at the impressive Ron Hurley Theatre.
Aside from taking this show to a wider audience, my only other suggestion is that a lockout is strictly enforced for any future performances (perhaps for the first ten minutes).
Verdict: A must-see acting masterclass.
Picture: Eugene Gilfedder in Beethoven’s Letters (Credit: Creative Futures Photography).
Audience information: Beethoven’s Letters had two performances as part of the 2021 4MBS Festival of Classics program. Tickets for the 5th June 2021 performances (1pm and 4pm) at The Ron Hurley Theatre were $15-$35.
The reviewer attended the Saturday 5th June 2021 (4pm) performance.
All images credit Creative Futures Photography.