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Operetta in three acts

Composer Johann Strauß · Libretto by Richard Genée after the comedy "Le Réveillon" by Henri Meilhac and Ludovic Halévy in the German adaption by Karl Haffner
In German

Thursday, 31. December 2015
06:00 pm – 09:15 pm
Nationaltheater

Duration est. 3 hours 15 minutes · 1. + 2. Akt (est. 06:00 pm - 07:55 pm ) · Interval (est. 07:55 pm - 08:30 pm ) · 3. Akt (est. 08:30 pm - 09:40 pm )

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Cast

Musikalische Leitung
Kirill Petrenko
Regie
Andreas Weirich
nach einer Inszenierung von
Leander Haußmann, Helmut Lehberger
Bühne
Bernhard Kleber
Kostüme
Doris Haußmann
Choreographie
Alan Brooks
Licht
Michael Bauer
Chor
Sören Eckhoff

Gabriel von Eisenstein
Bo Skovhus
Rosalinde
Marlis Petersen
Frank
Christian Rieger
Prinz Orlofsky
Michaela Selinger
Alfred
Edgaras Montvidas
Dr. Falke
Michael Nagy
Dr. Blind
Michael Laurenz
Adele
Anna Prohaska
Frosch
Cornelius Obonya
Ida
Eva Patricia Klosowski
Ivan
Jurij Diez
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper
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Loyalty, betrayal, love and lies. Anyone who thinks he can patch up a burnt-out marriage with a little hanky-panky on the side should make sure he doesn't wind up with his own wife. Comes the dawn: behind bars.  This operetta is "the" absolutely valid masterwork on the topic: "fun society".

 

Act One. Emotions in a turmoil

A state of emotional confusion prevails in the home of Gabriel von Eisenstein:

After an absence of many years Alfredo, the supposedly long-lost, former admirer of Gabriel von Eisenstein's wife, Rosalinde, has suddenly turned up in the sleepy little town where they live and is now doing all he can to seduce Rosalinde by charming her with his vocal prowess; for does the name not say it all, he is Alfredo, the tenor, and the object of his desire is, after all, married to a mere baritone …

Adele, a chambermaid with a fate common to all chambermaids, is beside herself with excitement: she has finally been offered a chance to excape for a few hours from the dreary, everyday existence of a servant in the form of a letter from her sister, Ida, inviting her to a ball that same evening at the home of Prince Orlofsky. But how can she possibly obtain permission to go? She has to plan very carefully and pretends for a few hours that her poor old aunt is lying on her death-bed, in urgent need of Adele's care and attention.

In dubio pro reo? Gabriel von Eisenstein returns home in a rage from a court hearing at which he has been found guilty of insulting an official. His lawyer, Dr Blind, has summed up his case before the court in such a way that his client now faces a stiffer sentence; he has to spend eight days in prison instead of five. The only thing that calms Eisenstein's ruffled spirits is the suggestion made by his friend, Dr Falke, as an alternative to waiting for immediate arrest. While Rosalinde believes that he is starting his prison sentence straight away, that same evening, he intends to avail himself of a temporary reprieve with a chance of drinking through the night – in female company other than his wife's – at Prince Orlofsky's ball and begin his sentence the following morning.

And what about his thus abandoned wife? Rosalinde at last has the time and the opportunity to succumb to the charms of her tenor. But their tête à tête is brought to an untimely close: the governor of the prison, Frank, decides to carry out his last official duty of the day in person, before also going to Prince Orlofsky's ball. He arrests Alfredo, believing him to be Gabriel von Eisenstein. Alfredo allows himself to be mistaken for Rosalinde's husband in order to protect the lady's reputation and is led off to prison by Frank.

Act Two. A bat's revenge

Prince Orlofsky is bored with life and is willing to spare no expense if he can only find something to amuse him once more. So Falke has set up a little farce for his delectation and invited the actors involved in the farce to the ball, without their having any idea of the part they are to play! And the name of the farce? "A bat's revenge", with the help of which Falke also intends, at the same time, to be revenged on Eisenstein for some wrong that he has suffered at his hands.

Adele bumps into Ida, who denies ever having written her a letter but promises to introduce her sister at the ball as a young actress by the name of Olga. Eisenstein, alias Marquis Renard, is only temporarily taken in by her talent as an actress and becomes a figure of ridicule in the eyes of the whole assembly when he maintains that he recognizes Olga as his chambermaid.

Without realizing who it is, Eisenstein swears eternal friendship with Frank, the prison governor, alias Chevalier Chagrin. Having been told by Falke that her husband is enjoying himself at the ball while she thought he was languishing in prison, Rosalinde appears disguised as a Hungarian countess. Eisenstein is quite fascinated by this apparent stranger and tries to seduce his own wife with the help of his favourite special trick with his watch. Instead of succumbing to his all too familiar charms, Rosalinde takes the watch into her possession as evidence.

The more champagne is drunk, the less inhibited the guests at the ball become until finally everyone is swearing eternal friendship. However, any further dissipation is nipped abruptly in the bud by the striking of the clock – it is six o'clock in the morning and high time for two of the gentlemen, Eisenstein and Frank: the one to begin his prison sentence and the other his day's work.

Act Three. The champagne is to blame

Italian arias are gradually driving Frosch, the prison warden, mad, and his way of coping with the problem of all this Puccini is to find solace in drink. The continuous aggravation to his nerves caused by the wonderful voice of his prisoner, Alfredo, is enough to drive Frosch to extremes–but you can’t really shoot a famous opera singer …

The prison governor, Frank, has only just returned to his place of work after the night's revelry when Ida and Adele seek an audience with him. Adele demonstrates her talent as an actress for him and he promises to pay for her to receive coaching.

When Eisenstein arrives at the prison to start his sentence, he discovers that someone unknown to him has already done so in his place. A dreadful thought suddenly crosses his mind: could it be that his wife has been repaying him in kind while he is under arrest?

In order to have proof of his suspicions, he orders Dr Blind who comes to the prison to take off his clothes and dons them himself. Meanwhile Rosalinde also arrives at the prison and tries, with the help of the lawyer, Dr Blind, – alias Eisenstein himself – to free the wrongly-arrested Alfredo from his delicate situation. But the tables are turned! Before her aggrieved husband can give full rein to his blind jealousy, Falke exposes his real identity to all Prince Orlofsky's guests, who have also appeared at the prison in the meantime.

All's well that ends well! Falke has had his revenge and amused Orlofsky. Rosalinde forgives her Gabriel and Adele can look forward to a bright future as an actress.

Translation: Susan Bollinger


© Bavarian State Opera

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Die Fledermaus
Johann Strauß
Richard Genée

Die Fledermaus in München

ML = Musikalische Leitung; IN = Inszenierung; BB =
Bühnenbild; KM = Kostüme;
E = Eisenstein; R = Rosalinde; O = Orlofsky; A = Adele

10. Juli 1875
Gärtnerplatztheater
IN Sigl;
Max Mikorey (E), Rosée (R),
Hedwig Kindermann (O), Pollitzer (A)

15. Januar 1895
Kgl. Hof- und Nationaltheater
ML Hermann Levi, IN Robert Müller;
Raoul Walter (E), Pauline Schöller (R),
Milka Ternina (O), Katharina Bettaque (A)

29. Januar 1928
Nationaltheater
ML Paul Schmitz, IN Kurt Barré,
BB Adolf Linnebach, KM Lovis Revy;
Josef Plaut (E), Ella Flesch (R),
Maria Nezádal (O), Anni Frind (A)

31. Dezember 1935
Nationaltheater
ML Ferdinand Drost, IN Alois Hofmann,
BB Adolf Linnebach, KM Otto Reigbert;
Julius Patzak (E), Maria Reining (R),
Maria Olszewska (O),
Martha Schellenberg (A)

20. November 1937
Gärtnerplatztheater
ML Georg Lippert, IN Carl Ehrhardt-Hardt,
BB und KM Hermann Kaspar;
Hermann Wolder (E), Maria Riener (R),
Kurt Pratsch-Kaufmann (O),
Martha Wagner (A)

30. Dezember 1969
Nationaltheater
ML Heinrich Hollreiser, IN Michael Hampe,
BB Heidrun Schmelzer,
KM Silvia Strahammer;
René Kollo (E), Charlotte Berthold (R),
Brigitte Fassbaender (O),
Ingeborg Hallstein (A)

31. Dezember 1971
Gärtnerplatztheater
ML Ulrich Weder, IN Kurt Pscherer,
BB und KM Hermann Soherr;
Frederic Mayer (E), Hedi Klug (R),
Liselotte Ebnet (O), Dorothea Chryst (A)

31. Dezember 1974
Nationaltheater
ML Carlos Kleiber, IN Otto Schenk,
BB Günther Schneider-Siemssen,
KM Silvia Strahammer;
Eberhard Wächter (E),
Gundula Janowitz (R),
Brigitte Fassbaender (O), Carol Malone (A)

31. Dezember 1995
Gärtnerplatztheater
ML Herbert Mogg, IN Hellmuth Matiasek,
BB Thomas Pekny,
KM Monika von Zallinger;
Peter Edelmann (E), Noëmi Nadelmann (R),
Gunter Sonneson (O),
Franziska Stanner (A)

 

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Biographies

Kirill Petrenko was born in Omsk in 1972 where he studied piano at the College of Music. At the age of eleven he gave his first public performance as a pianist with the Omsk Symphony Orchestra. In 1990 his family (his father a violinist and his mother a musicologist) relocated to Vorarlberg where his father worked as an orchestra musician and music teacher. Petrenko first continued his studies in Feldkirch before moving to Vienna to study conducting at the Academy of Music and Performing Arts. 

His first job after graduation took him directly to the Vienna Volksoper where he was hired by Nikolaus Bachler as Kapellmeister. From 1999 until 2002 Kirill Petrenko was General Music Director at the Meininger Theater. It was in 2001 in his role as conductor of Wagner's Der Ring des Nibelungen, in the production by Christine Mielitz and with scenery by Alfred Hrdlicka, that he first achieved international acclaim. In 2002 Kirill Petrenko became General Music Director of the Komische Oper Berlin where, until 2007, he was credited with a series of highly significant productions.

During his time in Meiningen and Berlin his international career also began to flourish. In 2000 Kirill Petrenko made his debut at the Maggio Musicale Fiorentino, in 2001 at the Vienna Staatsoper and the Dresden Semperoper, in 2003 at the Gran Teatre del Liceu in Barcelona, the Opéra National de Paris, the Royal Opera House Covent Garden in London, the Bayerische Staatsoper, the New York Metropolitan Opera and in 2005 at the Oper Frankfurt. In Lyon, in collaboration with Peter Stein, he conducted all three Pushkin-inspired operas by Tchaikovsky (Mazeppa, Eugene Onegin and Pique Dame) from 2006 until 2008, which were also performed as a cycle in early 2010.

After moving on from the Komische Oper Berlin Kirill Petrenko worked as a freelance conductor. During this period his projects included conducting a new production of Leoš Janáček's Jenůfa (Production: Barbara Frey) at the Bayerische Staatsoper in 2009. In Frankfurt he conducted Pfitzner's Palestrina (Production: Harry Kupfer) and Puccini's Tosca (Production: Andreas Kriegenburg). In 2011 he worked on two new productions of Tristan and Isolde at the Opéra National de Lyon and at the Ruhrtriennale.

To date, the most important orchestras Kirill Petrenko has been invited to conduct include the Berlin Philharmonic, the Dresden Staatskapelle, the BR Symphony Orchestra, the Bayerische Staatsorchester, the WDR Cologne Symphony Orchestra, the Hamburg Philharmonic and the NDR Hamburg Symphony Orchestra, the Frankfurt Opern- und Museumsorchester, the Amsterdam Concertgebouworkest, the Vienna Radio Symphony Orchestra, the Vienna Symphony, the Cleveland Orchestra, the Chicago Symphony Orchestra, the London Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Santa Cecilia Orchestra in Rome, the RAI National Symphony Orchestra in Turin and the Israel Philharmonic Orchestra. Kirill Petrenko has also conducted concerts at the Bregenz and Salzburg Festivals. From 2013 to 2015 he swung his baton for the new production of Richard Wagner's Der Ring des Nibelungen during the Bayreuth Festival.
 

Since September 2013 Kirill Petrenko has been General Music Director at the Bayerische Staatsoper. He will be working in this position until the end of the 2019/20 season. Since 2013, he has taken to the rostrum for premieres of Die Frau ohne SchattenLa clemenza di TitoDie SoldatenLucia di Lammermoor, Lulu, Die Meistersinger von Nürnberg, Lady Macbeth of the Mtsenk District and Tannhäuser as well as the world premiere of Miroslav Srnka’s South Pole and a revival of Wagner's Der Ring des Nibelungen among other works. In June 2015, Kirill Petrenko was named future Chief Conductor of the Berlin Philharmonic, starting this position in autumn 2019.

In the current season at the Bayerische Staatsoper Kirill Petrenko led an new production of Verdi's Otello  and Strauss' Salome. Furthermore, Kirill Petrenko conducts revivals of Die Meistersinger von Nürnberg, Fidelio, and Parsifal as well as two Academy Concerts with the Bayerische Staatsorchester.

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