Cher Public

  • moritz: I was about to write “I’ve never heard or read that someone used the verb “fistelnR 21; although... 3:25 AM
  • siegmund: I believe she sang almost all of the big wagner roles including brunnhilde and isolde in places like London and Vienna. 1:43 AM
  • Bluebeard: A pivotal scene features that image, plus it’s the poster used by other companies, such as the ROH. It’s a... 12:38 AM
  • Poison Ivy: I saw the livestream. Opolais is a great actress, and a decent musician, but her voice really lacks any bloom. It kind of... 11:19 PM
  • WindyCityOperaman: RIP singer Lynn Anderson httpvh://www.youtu be.com/watch?v=2g0 f3_Gke84 8:59 PM
  • aulus agerius: Why do the WRITTEN ON SKIN ads feature tats? It’s not about that is it? I decided not to go, BTW, affer viewing the... 7:46 PM
  • Bill: I liked Ludmila Dvorakova a great deal – she had a Flagstad like warmth to her voice – very rich in the middle. She sang... 6:37 PM
  • luvtennis: I would have a hard time suspending my disbelief too. How can you kill nuns to music that’s this much FUN!... 5:49 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.