Cher Public

  • DerLeiermann: Speaking of sopranos singing weird non-classical selections. If any of you goes back in time, don’t forget to record... 5:18 PM
  • DerLeiermann: I think it’s just like that song everyone knows. As written it has no notes above the staff and in general, it... 5:10 PM
  • Camille: hahahahahahaHA!!! Perfekt! 5:02 PM
  • DerLeiermann: She really makes it sound like a mix between “Frühlingsst immen” and “I am the wife of Mao Tse-tung”. 5:01 PM
  • operadunce: I don’t know about other singers, but when I saw Fleming perform it, she invited the audience to sing along. Everyone... 4:07 PM
  • Camille: What a surprising list. Who are the critics, one wonders, and from which countries. Thank you for posting, as it is very... 3:41 PM
  • Camille: Exhibit A: httpv://youtube.co m/watch?v=u-EPY46C nTA And much later on: httpv://youtube.co m/watch?v=DjZoI0WN 898 In the heart of... 3:36 PM
  • Cicciabella: 16 classical music critics pick the world’s best orchestras and conductors. Neither Luisi nor Gatti makes the cut:... 3:21 PM

Relativity

But surely it only feels that long?

Fledermaus ballet photo: Ken Howard/Metropolitan Opera

42 comments

  • Satisfied says:

    Reviews and comments on this board have either been harsh or blah. I double booked this and Anna at LPR on the same night, but planned on changing my date to the last performance of the run.

    …even worth it?

  • Pelleas says:

    The confirmation email I received on Friday actually told me I was attending a November performance of Frau ohne Schatten instead of tomorrow’s Falstaff, so something’s buggy with their system.

  • Chanterelle says:

    I liked Christof Loy’s FLEDERMAUS at Frankfurt in 2011 — the forced quality of the revels is intentional, and the Eisensteins do split at the end. Far more interesting than this laff-track vulgar mess

  • RosinaLeckermaul says:

    I wouldn’t call this production of FLEDERMAUS a train wreck. It’s a mixed bag. The first act doesn’t sag at all. Fabiano is hilarious. The musical numbers in the second act are staged and performed very well, but there’s too much dialogue. The Garson Kanin-Howard Dietz production wisely began with Falke in from of the curtain briefly and wittily giving the back story. Once that was in place, the production could move along with only necessary dialogue. This production has too much talk and the translation of the lyrics isn’t as good as the Martin or the Dietz versions, which admittedly aren’t great but are serviceable. I was relieved that it was all in English — hated the old half German, half English production. This production is an improvement over that one.
    No one in this cast had a sense of Viennese operetta style. I would have liked a better singer and actor than the bland Maltman as Eisenstein. Anthony Roth Costanzo carried the second act. Afraid I didn’t stay for the third. The second act ended at 10:30 and I can’t bear Frosch’s schtick, even when done by a good actor like Danny Burstein.