Music by
Johann Strauss 11 – Libretto by Karl Haffner and Richard Genee
Directed by
Karyn Tisdell – Musical Direction by Kathleen Loh
Conducted by
Lizzy Collier – Set Designed by Mel Davies
Presented by
Canberra Opera
Belconnen
Theatre Centre until 14th May.
Reviewed by
Bill Stephens
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| Canberra Opera's "Die Fledermaus" Photo: ES.Fotograph |
Building on
their previous productions of “La Boheme” (2015) and “Suor Angelica” (2016),
the growing confidence of Canberra Opera is nicely reflected in this
intelligent and entertaining production. Originally premiered in 1854, “Die
Fledermaus” has remained one of the most popular operettas in the repertoire,
principally because of its beguiling score by Johann Strauss 11.
Choosing a
new English translation by Ian Gledhill, and setting it in the 1950’s , director,
Karyn Tisdell has marshalled limited resources to great effect to produce this
impressively sung, visually attractive, production, sprinkled with laugh-out-loud
moments gently satirising operatic traditions, and some well-staged physical
comedy.
Attractively
costumed in 1950’s fashions, performing in an imaginative, versatile setting
designed by Mel Davies, and accompanied by an admirably crisp on-stage quintet
conducted by Lizzy Collier, the production showcases a vocally impressive cast
who handle the vocal gymnastics with aplomb while delighting in the silliness
of the convoluted plot.
Keren
Dalzell gives a stylish performance as Rosalinde von Eisenstein, busily managing
to fend off the attentions of her ex-lover Alfred (a very funny, Ken Goodge) while
trying to catch out her caddish husband Gabriel von Eisenstein (played with
flair and gusto by handsome Andrew Barrow). Her rendition of the Czardas in the second act
was one of several vocal highlights.
Almost stealing
the show as the cheeky chambermaid, Adele, Madeline Anderson, delighted with
her performance of “The Laughing Song”. Michael Moore, Peter Smith, Linda
Gledhill and Sarah Powell all impressed with strong supporting performances.
Although some
over-indulgence in unnecessary interpolations in the third act, particularly
the stand-up routine by the likeable Sam Kentish, slowed the pace of the
production almost fatally and deprived the champagne atmosphere of some of its
sparkle, this “Die Fledermaus” is an impressive accomplishment by Canberra
Opera and a welcome opportunity to experience an enduring operatic masterpiece.
This review first published in the digital edition of CITY NEWS on th May 2017