Ambur Braid (photo: Chris Hutcheson).
When I heard that Christopher Alden was directing the Canadian Opera Company’s new production of Die Fledermaus, I wondered if Toronto audiences could expect a “Regietheater” approach to Johann Strauss’s popular operetta. And it occurred to me that such a light and fluffy piece would be an odd vehicle for such a venture. After all, Fledermaus isn’t exactly subtle, nuanced, emotionally profound or laden with subtexts.
Now, having seen it (the production’s second performance, on October 9), Die Fledermaus still strikes me as an odd vehicle for such a venture.
It’s clear that Alden and his co-creators – set designer Allen Moyer and costume designer Constance Hoffman – have given the piece a lot of thought. And, to their credit, they were successful in creating a series of visually fascinating tableaux. (Even the final jail scene had an arresting quality.)
Now, having seen it (the production’s second performance, on October 9), Die Fledermaus still strikes me as an odd vehicle for such a venture.
It’s clear that Alden and his co-creators – set designer Allen Moyer and costume designer Constance Hoffman – have given the piece a lot of thought. And, to their credit, they were successful in creating a series of visually fascinating tableaux. (Even the final jail scene had an arresting quality.)
Sometimes Alden’s directorial touches are clever and insightful – such as having Dr. Falke suspended above the stage in his bat costume, perched on a giant pocket-watch like a malevolent Pierrot Lunaire. But sometimes Alden “gilds the lily” by willfully superimposing his ideas where no intervention is needed. This operetta is a well-crafted screwball comedy all by itself. It doesn’t really need a director trying to inject more screwiness into it at every turn.
Yet even if the staging is at times overwrought, there’s no denying that Alden has made the production lively. As well, each character is clearly etched, and the whole cast is brought together for a strong ensemble performance.
Tenor Michael Schade fits the role of Eisenstein like a hand in a glove, with a charming and easy-going delivery, both vocally and dramatically. Also a natural for his role is baritone Peter Barrett, who brought an intriguing, sinister edge to his portrayal of Dr. Falke.
Tamara Wilson, as Rosalinde, is an old-school soprano – which means that a] her singing is about singing, and b] she’s very good at it.
Happily, as roles decreased in prominence there was no decrease in quality. Ambur Braid was an impressive surprise as the maid Adele. Laura Tucker was spot-on as the eccentric, world-weary Count Orlofsky. James Westman was a wacky Franck, and David Pomeroy was a wackier Alfred. Wackiest of all was David Cangelosi as Dr. Blind.
And Johannes Debus earned a champagne toast for his deft handling of cast, chorus and orchestra. His suave Viennese stylings – lilting waltzes, effervescent allegro gallops and long, gradual accelerandi – made this Fledermaus take musical flight.
© Colin Eatock 2012
Yet even if the staging is at times overwrought, there’s no denying that Alden has made the production lively. As well, each character is clearly etched, and the whole cast is brought together for a strong ensemble performance.
Tenor Michael Schade fits the role of Eisenstein like a hand in a glove, with a charming and easy-going delivery, both vocally and dramatically. Also a natural for his role is baritone Peter Barrett, who brought an intriguing, sinister edge to his portrayal of Dr. Falke.
Tamara Wilson, as Rosalinde, is an old-school soprano – which means that a] her singing is about singing, and b] she’s very good at it.
Happily, as roles decreased in prominence there was no decrease in quality. Ambur Braid was an impressive surprise as the maid Adele. Laura Tucker was spot-on as the eccentric, world-weary Count Orlofsky. James Westman was a wacky Franck, and David Pomeroy was a wackier Alfred. Wackiest of all was David Cangelosi as Dr. Blind.
And Johannes Debus earned a champagne toast for his deft handling of cast, chorus and orchestra. His suave Viennese stylings – lilting waltzes, effervescent allegro gallops and long, gradual accelerandi – made this Fledermaus take musical flight.
© Colin Eatock 2012
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