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Few operas foreground ethics as clearly as Beethoven’s  Fidelio . Yet the heroic tale of liberation from political oppression resists narrowly historical interpretations, availing itself equally to revolutionary and reactionary interpretations. Allegory theory offers a new approach to the ethical meanings of  Fidelio . Allegory, in which characters embody moral qualities, preserved a hierarchical and theocentric view of society, in opposition to the humanistic outlook of Enlightenment mimesis. Allegory and mimesis coexist in  Fidelio , whose title character traces a lineage to the Christian morality play. This essay compares the 1805 original of Beethoven’s opera ( Leonore ) with the 1814 version ( Fidelio ), concentrating on the final scene and the character of Marzelline. I argue that the 1814 version enhances the allegorical dimension, simplifying the characters and reducing moral complexities.  Fidelio  models the traditional “consensus society” of pre-Revolutionary Europe, offering a vision congenial to Congress of Vienna audiences.

Allégorie et éthique dans le Fidelio de Beethoven