Die Fledermaus

This merry production of the cheerful operatta Die Fledermaus is a welcome addition to Canberra Opera’s reputation. The operetta has moved from nineteenth-century Vienna to the 1950s in London, with the characters enjoying a reprieve from war-time rationing and availability of goods. The von Eisensensteins, Gabriel (played by Andrew Barrow) and Rosalinde (played by Keren Dalzell) live in a London apartment and their maid Adele (played by Madeline Anderson) shows how she is not awed by wealth, but sees it as an opportunity to make the most of life. The operetta starts with Adele dusting the modern furniture of the apartment during the overture, showing Madeline Anderson’s acting skills making the maid both endearing and cheeky.

The cast shows the breadth of talent and abilities in Canberra Opera. Ken Goodge makes a charming Alfred, a little over-the-top as befits the character, and with singing that makes Rosalinde swoon. Sarah Powell plays Prince Orlofsky, elegant and rich. Linda Gledhill is good as Ida, the sister of Adele the maid.  The ensemble works well together with beautiful harmonies, and excellent use of the stage as well.

The musical director is Kathleen Loh. The singers are accompanied by a small orchestra conducted by Lizzy Collier. Intonation is variable at times but would improve with further rehearsal.

The stage design by Mel Davies is simple but quickly gives a sense of place and time. Putting the orchestra behind bars on stage for Act Three is a good work-around for a small stage, and the musicians are in striped prison caps, a change from their party hats in Act Two.

The performance has many enjoyable moments, such as the Act One trio “Oh no, that moves me so”, and the Champagne Song in Act Two sung by Sarah Powell, Andrew Barrow, Madeline Anderson  and the ensemble. Keren Dalzell is sparkling in the Czardas. There is some lag in the start of Act Three but it soon picks up.

Overall this is a fun operetta, just right for brightening an autumn weekend.

Rachel McGrath-Kerr