Fidelio - Beethoven's One & Only Opera at the MET

Going to the MET Opera is an exceptional occasion for it's grandeur and high-level of entertainment.  Except at last night's performance of "Fidelio" where did all the people go?  I was seated in the grand tier where there were rows upon rows of no shows.  The clement weather wasn't a factor in whether people attended.  The evening's program, "Fidelio," should have been an added incentive.  I felt a alone in Beethoven's lone opera.  Beethoven's musical genius is in an elite echelon.  Beethoven mastered & revolutionized all musical forms he endeavored.   Perhaps, opera posed some unique barriers that made returning to operatic composition unpalatable for him.  Beethoven misanthropic nature may have made staging a theatrical production onerous.  His hearing loss which which lead to total deafness in 1818, has been ascertained as early as 1801, 4 years prior to the premiere of "Fidelio."  Beethoven continued to compose & create some of his greatest works spanning the last ten years of his life despite being completely deaf.  But, Beethoven never again ventured into composing for the human voice.   Perhaps, a combination of disdain for frivilous & risque theatrics and the indeterminate capability to register vocals made any further time spent creating operas undesirable.  "Fidelio" is a dark opera that is staged within a prison.  Leonore, of a male prisoner courageously disguises herself as male to gain access inside to find him.  The story has a misdirected love story, the reuniting of the married couple and the releasing of fellow prisoners.  The music, particularily the overture, embody Beethoven's powerful & majestic qualities.  The marvelous soloists:  Leonore/Fidelio (Adrianne Pieczonka) and Marzelline (Hanna-Elisabeth Muller) offerred a lighter more sublime contrast to the deep male choruses.  Greer Grimsley as Pizarro was sublime.  Beethoven chose not to compose another opera.  But, his one & only. "Fidelio" highlights his superb musical talents.