Joh. Strauß II, Die Fledermaus
In the midst of an insane work period in Salzburg I had a tiny amount of down time this evening. I looked during the afternoon to see what musical options might be available, and found a new production of Die Fledermaus by Johann Strauß (son) at the Landestheater.
Alexandra Liedtke directed. A young German, she regularly works for this house and I have seen her productions before so was willing to attend – unlike most intentionally-provocative and brainless Regisseurs from her country, she does put some intelligent thought into the staging. This staging was consistent with what I have previously experienced: updated in time (more or less to today in this case) without feeling out of place, and with some extra comedy thrown in. Die Fledermaus is a farce, and she decided to make it more of one. I am not sure her approach entirely worked, but considering what a German director might have done, it was all perfectly acceptable.
Frosch the Jailer (Axel Meinhardt, a German actor of uneven talent as a stand-up – although his mocking of Austria’s current political morass got a good deal of laughs), sometimes supported by Dr. Blind (Alexander Hüttner, who played his character-role well) appeared throughout the opera – and not just in the appropriate scenes – to give running commentary and comedic asides (and needed to be chased off the stage by the other characters). This approach had its moments, in that Liedtke did not try to hide the absurdity of the plot. The action is under any circumstances not believable, but normally some of the comedy comes from suspension of belief and just letting the plot twist – here, the whole farce was openly orchestrated by Dr. Falke (George Humphreys, a rather tall baritone who knows how to ham up comedy and hold the stage while singing well). Rather than the characters gradually realizing their roles (often set up by Falke), they all knew in advance, with the obvious exception of Gabriel von Eisenstein (Luke Sinclair, a Scotsman whom Liedtke had lapse periodically into English, and who dressed in a kilt for the second act ball – odd, since he was supposed to be pretending to be a French marquis). The rest of the cast played along, including Sophie Brommer (as Rosalinde), Philipp Schönhorn (as Frank), Bethany Yeaman (Prince Orlofsky), Manuel Günther (Alfred), Hazel McBain (Adele), and Laura Rieger (Ida) – the inclusion of the Scottish McBain and the English Yeaman meant more English entered the dialogue, and not only from them, although I suppose it did not hurt in the updated text. Yeaman and Brommer added fake Russian and Hungarian accents as well as needed.
The cast worked together well, as is often the case in this company. The orchestra, under Leslie Suganandarajah, sounded a bit thin and took a while to warm into the right lilt. I was not convinced with Liedtke’s conception on the whole, but could live with it since the purpose of going this evening was to be entertained and have a few laughs, and that happened.
The Landestheater was completely renovated last year and absolutely shines. Liedtke did capture this by modeling Orlofsky’s ballroom on the theater itself (not a replica, but she did continue the motifs, colors, and shapes in completing the circle). I’d say it was elegant, except that the debauchery on the stage (hammed up a lot even from the usual amount) was obviously not. Almost every seat sold out.