You can get by with a lot when you blame the champagne.
That’s the message of “Die Fledermaus,” Johann Strauss, Jr.’s romp through Vienna in 1870, which opened December 10 at Lyric Opera of Chicago.
Adele, a parlor maid, borrows a dress from her mistress’s closet to wear to a party given by Russian Prince Orlofsky. Her mistress arrives at the same party, masked and posing as a Hungarian noblewoman to observe and possibly even seduce her wayward husband, Gabriel Eisenstein, who is supposed to be in jail, but instead snuck off to party with the promise of young, friendly ballerinas in attendance.
This new-to-Chicago production is a vivid, visual feast, ranging from the pastel trompe l’oeil decor in the Eisenstein house to Orlofsky’s vast ballroom. The sets designed by Wolfram Skalicki and costumes by Thierry Bosquet are from the San Francisco Opera.
“Fledermaus” resembles an operetta rather than an opera, with dialogue interspersed by memorable songs, and its cast is formidable. Powerful Danish baritone Bo Skovhus is an impeccable Eisenstein, reprising the role he played in Lyric’s last production of “Fledermaus” during the 2006-2007 season. His character is mischievous, yes, but is also dazzled by the feminine beauty surrounding him, including the gorgeous “Hungarian,” whom he fails to recognize as his own wife, Rosalinda.
Rosalinda is sung by German soprano Juliane Banse in her American operatic debut. She has a rich, shining voice and is a fine actress—funny, frantic and flirtatious by turns. Their parlor maid Adele is Austrian soprano Daniela Fally, in her American debut. She steals the show with her bright, flexible voice and keen comic timing, plus she does the splits—twice!
Another star is American mezzo-soprano Emily Fons in the trouser role of Prince Orlofsky. She’s been a standout since her days with Lyric’s Ryan Opera Center. Her voice is strong and pleasing and, when paired with considerable acting ability and deft dancing, earned her a torrent of applause at the curtain call.
In fact, there was plenty of dancing, with 10 professional dancers providing athletic, even acrobatic entertainment during Orlofsky’s soiree. American Michael Spyres ably portrays the Italian tenor, who woos the not-exactly-unwilling Rosalinda. Austrian baritone Adrian Eröd plays Dr. Falke, who actually stands on his head in the first act!
American character tenor David Cangelosi is a Lyric favorite and he nails the role of Eisenstein’s lawyer Dr. Blind, who fails in his efforts to keep his client out of jail. Chicago-based actor Fred A. Wellisch has the speaking role of Frosh the jailer, and he frequently lapses into English for topical references, including a reference to the Mayor of Toronto.
All these antics are accompanied by the music of Strauss, whose pen has supplied one enchanting melody after another, including waltzes, polkas, trios, duets and novelty solos, such as Adele’s adorable “Laughing Song.” The Lyric Orchestra, under the baton of Ward Stare, conveyed the jaunty spirit of the production.
It’s a holiday treat, so don’t miss it.
Dialogue and songs in “Die Fledermaus” are performed in German, with English supertitles. The show runs at the Civic Opera House, 20 N. Wacker Drive, Chicago through January 18. For information, visit Lyric’s website or call 312-332-2244.
