Ferdinando Paër’s Leonora predates Beethoven's more widely recognized setting of the same story by a year, and the relationship between the two scores is more than coincidental. It is documented that Beethoven possessed a copy of Paër's score while composing Fidelio, and the influence is especially audible in Florestano’s Act II scena. This sequence, which opens with an extended orchestral prelude followed by a rondò that mirrors “Gott! Welch’ Dunkel hier!” from Beethoven’s version. Later in the act, Florestano’s plea “Deh per pietade solo una goccia d’acqua” contains a motivic idea strikingly similar to the one Beethoven employs in “Euch werde Lohn in bessern Welten,” suggesting more than just coincidental inspiration.

Yet Beethoven’s alterations often expose the limitations in Paër’s dramaturgy. The Act I finale in Leonora adheres closely to the conventions of opera buffa, undercutting the gravitas of the plot. By contrast, Beethoven’s decision to end Act I with the prisoners' quiet return to their cells instills a chilling sense of foreboding that flows seamlessly into the second act. Additionally, in Paër’s version, Marcellina’s role is considerably expanded, including an extraneous subplot in which she attempts to rescue Leonora from the cistern—an insertion that disrupts narrative momentum. Such contrasts reinforce Beethoven’s oft-underestimated dramatic instinct, particularly in matters of pacing.

Clarice Carson, in particular, brings expressive strength to the role of Leonora. The performance under Peter Maag is commendable for its advocacy of this seldom-heard work. However, Maag’s tempi tend toward the sluggish, occasionally dulling the classical contour of the score.