But surely it only feels that long?
Fledermaus ballet photo: Ken Howard/Metropolitan Opera
They must have really expanded the dialogue or the tempi are Levine’s.
My first howler of the New Year -- thanks La Cieca!
You know how orgies can drag on, and on, and on.
BTW for anyone who saw this production how did they translate ‘Erst ein Kuß, dann ein Du’. Seems like that cannot be translated.
Feldmarschallin -- by the way I posed in the middle of the night Munich Time yesterday (so you may have been asleep)
that Krasimira Stoyanova is scheduled for 3 William Tells in the 2015 and 5 Aidas noth in Munich -- is the Aida a new production are just a reprisal of an existing production ? I would gather they are role debuts for both parts. We know now she has Rusalkas in Wien this month, Narschallins in Salzburg this upcoming summer and 4 Mimis in Wien Nov/Dec 2014
He or she replied that it’s not a new production.
Yes Bill I saw that and posted. Did you not see it or maybe it got lost in cyberspace. From what I understand the performances that Stoyanova will sing are the old production but there is some talk about doing a new one but with different singers. These are only loose talks so far with no conductor or director even set but only feelers if these singers want to do it etc. You know a lot of projects get talked about and things discussed without anything ever happening because singers then decide it isn’t for them afterall. I wish Bachler would get LiMo (is that the right abbreviation?) or Moore for the Aida but I guess it could be worse (SR for example). The next time I run into Bachler I will have to mention LM since she hasn’t sung here yet and they usually are good about getting new people.
OMG I cracked up so hard when I read this!! The abbreviation I use is Lumi dear Feld, but that’s just something silly I came up with and use cuz Im just crazy that way :-P. No really, its a term of endearment. I tend to abbreviate the names of all the singers I like which might be annoying to those reading my comments so apologies for that! lol you and everyone else are free to call her what you like (of course).
In reference to the Aida, it would be awesome if they would get her to perform it there because that would bring about the possibility of a live stream with a better cast and an updated production. So yes please do tell them!!! That role has become a sort of calling card for her since she’s singing it almost everywhere so I don’t think she’d mind singing it there as well :-D
“First a kiss, then doo-doo…”
Batty, shit happens.
“First a kiss, and then a discreet transition from the formal mode of address to the informal.” Or doesn’t that scan?
“First a kiss, then a coo”
On second thought, that might sound like “coup”, which could give people the wrong idea…
Or how about: “First a kiss, then a yo”?
Or, as Justin Beiber and other lesbians might say: “First a kiss, then a haaaayy!”
(Hey!! Thank you, thank you!! I’ll be here all week. Try the veal.)
Unfortunately, I think the right time is 11:15 pm not 2:24 am. I wonder what someone was thinking???
I got the reminder email for Tuesday’s performance too.
The actual time listed in the email is “7:30PM-10:57PM”
The email La Cieca displayed is probably just somebody having a little fun.
It DO go on…
Opening night felt like we were going to go from 2013 to 2015…
LOL yeah when I looked at the expected length of the performance I was like holy fuck, that’s a long performance…I wouldn’t mind since Im a night owl but for the older gents I would think it a challenge to sit through that.
Yes, it does end at 11:15 pm. 2:24 am is when the staff finish waking the audience.
I imagine it is the interpolated performance of Rosenkavalier (as per the exclusive video) that lengthens the evening. I myself would have preferred the traditional gala but chacun a son gout.
Has someone already posted this bummer of a review from Bernheimer?
This Fledermaus is awful. Hard to believe one could do this to a wonderful operetta.
I’ve not listened to the Fledermaus performances yet, but the portions of today’s version of The Magic Flute that I heard on the radio were just horrible. Nobody sounded like they were interested in what they were doing. They sounded like a community college production of an operetta. The transaltion is so anti-musical that it makes the older translations sound like true poetry. The Queen of the Night has one of the ugliest voices I’ve ever heard -- contantly off pitch and totally lacking in polish. If that’s the new standard for singing at the MET we have lost more than I ever imagined. The 3 Knaben sounded like they were intoning sounds in native Korean. So unlike Mozart.. and the conductor made the violins sound like the were playing with cat gut on picture framing wire. Madeleine Marshall wound have failed all of them for ingoring her rules for the correct pronunciation of sung English and most of the sung lyrics were totally indistinct. Pamina watched too many videos of Renata Scotto pronouncing the letter m in Italian and “Ach, ich fühl’s” was very badly hamered by the translation.
Ha ha . Nailed it.
Quickest parterre backlash ever? There was a lot of praise for a Lewek video the other week.
2 = a backlash.
Well, I just won a bet with myself.
Just to pretend you were being serious for a moment, it only takes one person to start a backlash.
FYI, your version of my post would have been something along the lines of ‘funny how the consensus that Lewek was a great singer has been overturned by everyone saying how bad she is.’. Probably followed by something about how it annoys you that people like Kaufmann.
Gosh -- she was the best I’ve heard in London since Damrau in the last revival of the Hytner production at ENO 14 months ago. I hope it was an off-night.
It is, however, very glam & glitzy and will appeal to the Zeff worshipers et al. who demand bling with their high C’s. Despite its flaws there has been no handwringing over the loss of the old one -- which was also a dreadful, but extremely pretty, bore. With a tweaked libretto and a new stage director and cast, it would appear to be a more than serviceable framework for a couple of decades. Even the pans have raved about the designs.
Not at all -- is Fledermaus EVER done well in a big inflated opera house? I’ve generally kept away from it, after a horrid multi-language endlessly protracted ROH affair yonks ago with Dame Kiri… the dialogue is always embarrassing, it stops and starts like a cruise ship running aground -- and if a darker approach is attempted it seems to resist it -- ENO just came a big cropper with it.
Admittedly some of the music is luscious, but I don’t know why, of all operettas, it has made its way into opera house repertoire. It surely would work so much better in an intimate theatre.
And compared to Offenbach, who I think in general tends to be more thematically attuned to our dystopian age, Viennese operetta always strikes me as a less nimble, pudgier, diabetic offshoot……….
These days I think that nearly everything is better in an intimate theatre -- even big Strauss and Wagner (having experienced them in 1000-seater theatres in recent years). I am really peed off at having missed La vie parisienne (a piece inextricably associated in my mind with you, cher Belfie) at the Royal College’s Britten Theatre last year. It must have been a riot, and that theatre is really a pleasure.
ENO used to be able to do it at the Coliseum when they had a roster of artists who had learned their trade at Sadler’s Wells -- Marion Studholme, Ava June, Catherine Wilson, Eric Shilling et al -- who somehow managed to project into the much large theatre when the company moved. The Royal Opera production never really worked as well. Most of the singers they employ today simply lack the experience to to operetta. I think the best performance of Fledermaus I have seen was a bog-standard long-runner (originally by Eberhard Waechter, revived by Heinz Zednik) at the Volksoper with no famous names in the cast, but they do that rep all the time and it showed. I heartily recommend a visit to that production to any Parterrians with a spare night in Wien. They revive it a lot, with several different casts.
grrrr -- that should have been “to sing and act operetta”
Don’t forget Nigel Douglas, who had a special talent for the style.
There was a good FLEDERMAUS at CG with Vaness and Allen in about 1990.
Fledermaus is the greatest Viennese operetta (imo) precisely because its source material is a “straight” play by the librettists of Offenbach’s greatest opera-bouffes Meilhac and Halévy (the Offenbach/Meilhac/Halévy works were also the direct, publicly acknowledged models for the G&S operettas).The social satire is something that vanishes from the later Viennese schmaltzy sentimental operettas, which are not to my taste.
As soon as I heard the words “revised libretto” I knew this production was going to be a train wreck --
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?
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.
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
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.
Copyright © 2016 parterre box - All Rights Reserved