DIE FLEDERMAUS

Barrie Kosky affords the “operetta of all operettas” a new look and focuses on its morbid side. The scene is Vienna, city of the golden operetta era, where Die Fledermaus celebrated its world premiere at the Theater an der Wien in 1874. The revenge of the bat becomes a nightmare for Gabriel von Eisenstein and many others. A society, an entire city dances towards the abyss. To take revenge on his friend Eisenstein, Dr Falke, alias the bat, orchestrates a misunderstanding with Prince Orlofsky. A marquis and a chevalier, a countess and budding artists meet here for a raucous party. Glasses clink, relationships are strained, there is loving, lying and dancing. They party ‘til the cows come home, always believing: “Happy are those who forget ...” 

General Music Director Vladimir Jurowski and director Barrie Kosky have worked together on Der Rosenkavalier and Der feurige Engel at the Nationaltheater, and they have also realized musical theater together at the Komische Oper Berlin. For Barrie Kosky, the production of Die Fledermaus is his sixth directing work at the National Theater. Klaus Bruhns is responsible for the costume design. The stage is designed by Rebekka Ringst, who has already developed the theatrical spaces for Der feurige Engel and Agrippina. The choreography is by Otto Pichler, who was a guest in Munich for Der feurige Engel.

FIRST ACT

The more bourgeois, the more unfulfilled: Rosalinde von Eisenstein, a higher-class Viennese woman, settled in marriage to the dull-witted Gabriel von Eisenstein, fights against the advances of her premarital lover, the tenor Alfred. Adele, the Eisensteins' chambermaid, although generally less talented in the service profession, longs for a career in show business, which her sister Ida, already a guest in higher circles, is supposed to help her achieve. Adele receives a letter from Ida inviting her to an excessive party at Prince Orlofsky's, who is legendary in Vienna. Adele fabricates an illness of her aunt in order to be released from the Eisensteins' service for one evening. They will all meet there later – dressed in identity-preserving costumes, of course. Gabriel von Eisenstein is particularly craving a night like this, as he has recently been condemned to a short prison sentence for his verbally and physically abusive behavior towards the judiciary. He still has one night left before going to prison. His lawyer, Dr. Blind, was able to negotiate this short reprieve in court. Dr. Falke, on the other hand, a close friend of Eisenstein's, has been waiting a long time for this moment. He plans to take revenge on Eisenstein – Eisenstein had once exposed his friend to Viennese society by dressing him up in a bat costume after a night of drinking and letting him stroll through Vienna. Therefore Falke invites Eisenstein to join Orlofsky – options for extramarital contacts included, of course. Eisenstein is easily convinced, as he is well practiced at this; a luxurious pocket watch has often served him as a temptation for younger ladies on his nightly excursions. Gabriel says goodbye to his wife on his way to prison. She is of course also invited to Orlofsky as part of Falke's revenge plan. Shortly thereafter, Rosalinde is in turn confronted by Alfred, who once again tries to seduce her with his vocal-oral talents. Both are interrupted by the prison director Frank. He is looking for the convicted husband to escort him to prison. The only logical consequence is that Alfred has to quickly pretend to be Eisenstein and is taken to prison in his place, lest the tête-à-tête would be made public. In the end, everyone is on their way to Orlofsky's party, even the pedantic prison director is dragged there.

SECOND ACT

Things are wild in the House of Orlofsky. Whoever is here is at best not bourgeois, or willingly discards any etiquette of such a world at the checkroom. This evening will be a Dionysian celebration – ecstasy by definition. Adele, wearing a dress of Rosalinde, meets her sister Ida, who is confused by the supposed invitation by letter – also written by the revenge-hungry Falke – but is warmly delighted by her sister's arrival and wants to introduce her to society as an actress called Olga. The famous and notorious Prince Orlofsky, meanwhile, is almost under-tensed from all the partying and commands that he be amused. Falke proposes the performance of an improvised play – the title is The Revenge of the Bat. Thus the entanglement arranged by Falke finally progresses, and as a matter of course, so does the level of ecstasy of all the guests; Eisenstein arrives, whom Falke introduces as Marquis Renard. The prison governor also appears under his false name Chevalier Chagrin. The highlight is the appearance of a much-heralded star: the Hungarian countess. This masked countess is none other than Rosalinde, who is horrified that her husband has lied to her and is unabashedly making love to the chambermaid, whom he believes to be an artist, and later to her herself in costume. In the process, she manages to steal his pocket watch. The party is still in full swing in the early hours of the morning, but Eisenstein finally has to say goodbye and makes his way to prison.

THIRD ACT

The alcohol level in this prison is dangerously high. The prison guard Frosch meets the very drunk prison director, who can no the longer see clearly. One by one, everyone arrives. Ida and Adele continue to work on the artist career that is still pending and ask Frank for the help he promised Olga as Chevalier Chagrin in an intimate moment. Above all, he must put in a good word for her with Rosalinde von Eisenstein, as Olga has stolen her dress. He agrees, but the next moment he realizes that Marquis Renard is at the door. To ensure that Ida and Adele remain undiscovered, they are taken into hiding. Eisenstein realizes that, firstly, Chevalier Chagrin is in fact the prison governor and, secondly, Eisenstein has already been imprisoned. He begins to rage when he realizes how Alfred could have been mistaken. He feels cheated by Rosalinde and thirsts for revenge. Rosalinde, who has now arrived, tries to talk her way out of the affair with Alfred. At this point, they all feel betrayed by each other and are furious. An argument ensues between the Eisensteins and reproaches are hurled. Rosalinde then holds his watch under his face. Before the situation escalates, Falke appears with Orlofsky and his entourage and sets Eisenstein straight. This is how the bat gets revenge! The masquerade is over. Everyone is exposed and would have to admit to their actions if it wasn't for the champagne. After all, the blame can be shifted onto it. Only one thing is still missing: the hangover ...