Die Fledermaus, Johann Strauss II’s signature operetta, captures that lilting flavor of late-19th-century Vienna as a gracious, aristocratic paradise of waltzes and champagne. The disingenuous storyline is well served with generous dollops of creamy melodies often concealing the sleight-of-hand goings on but with that ineffable charm so often associated with fin de siècle Europe.
The young composer produced this work in a 42-day nonstop burst of unbridled enthusiasm. Those who were entranced by the equally charming if more stratified English goings on in “Downton Abbey” may find Die Fledermaus’ ribald characterizations of old-world Vienna even more compelling. As Bill Florescu, general director of the Florentine Opera points out, “The work is a great piece and a good way to fill out the final slot of our season. We performed a standard, Madama Butterfly; and a contemporary work, Three Decembers; leaving Die Fledermaus as our closing presentation with infectious melodies that appeal to all. I cut my teeth on light opera and the Florentine had not done this piece since 1991.”
The convoluted plot concerns Dr. Falke’s plan to take revenge on Gabriel von Eisenstein by inviting him to a compromising masked ball given by Prince Orlofsky. Falke had been left inebriate and abandoned while dressed in a bat costume (Fledermaus means “bat”) at a previous party. The masked ball is the centerpiece of the action with mistaken identities and the ensuing improper flirtations.
Florescu maintains that both operetta and opera require great singing. “The more relaxed musical style doesn’t mean that operetta is any less demanding,” he insists. “Great skill is required—light opera has much spoken dialogue and the plots are purposely made more convoluted, making the silliness more available to musical and comic intervention, although there is a great non-singing role by the jailer in the last act of Fledermaus, raising the oft-stated argument that comedy is more difficult than tragedy.”
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The musical gems in Fledermaus include a great brotherhood chorus in the second act as well as the light-hearted solo by Prince Orlofsky, not to mention the famous champagne trio. “Our setting is traditionally 19th-century upper middle class appropriately lavish,” Florescue says. “This season is more of what I am committed to—a traditional piece followed by a modern work followed by something in a lighter vein.”
Fledermaus is a joyous music bonbon encapsulating zany goings on that are not required to make much sense—nor should they. Baritone Corey McKern sings Eisenstein. “This is a very high role vocally for a baritone, reaching the limits of the range,” McKern says. “For all the singing that he does, Eisenstein has no aria, yet all the action revolves around him. He is the straight man often being an unwitting bystander. Like slapstick, the comedy must be played straight to be effective, much like the movie Airplane. Eisenstein is something of a hot head. There are fewer emotional underpinnings than in opera, yet timing and precision is very exacting for the piece to work.”
Those familiar with operetta know that the best ones like Fledermaus flow as smoothly as a summer wine.
The Florentine Opera presents Die Fledermaus, May 13 and 15 at Uihlein Hall in the Marcus Center for the Performing Arts, 929 N. Water St. For tickets, visit florentineopera.org.
