Editing Fidelio (section)

==Overtures==
Beethoven struggled to produce an appropriate [[overture]] for ''Fidelio'', and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as "Leonore No.&nbsp;2" in [[C major]]. Beethoven then focused this version for the performances of 1806, creating "Leonore No.&nbsp;3", also in C major. The latter is considered by many listeners as the greatest of the four overtures, and indeed it is often performed outside the context of the opera, as a concert piece. 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.&nbsp;1". Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what is now known as the ''Fidelio'' overture, in [[E major]]. 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.

The two scenes of the last act require a major scene change, and it has long been a temptation for conductors to integrate the acclaimed "Leonore No.&nbsp;3" overture into the opera by performing it during this interval. According to [[David Cairns (writer)|David Cairns]], the practice goes back to the middle of the 19th century.{{sfn|Cairns|2001|p=45}}  [[Gustav Mahler]] is particularly remembered for adhering to this practice when he led a performance.  When performed at this point in the opera, the overture acts as a kind of musical reprise of the rescue scene that has just taken place.