Richard Genée

The plot of Die Fledermaus is woven around a ball given by Prince Orlofsky.

Witty, fun, intoxicating film of Johann Strauss II's popular operetta, based on a stage production from Vienna State Opera; this is a showcase for the entire cast, but most especially Eberhard Wächter as the insufferably boorish Gabriel Eisenstein, and Gundula Janowitz as his long-suffering wife. Open the champagne, have yourself some torte, and enjoy this delectable comedy from Vienna.

After the Viennese premiere, the Fledermaus (the bat) conquered the world. It is one of the few operettas that are regularly performed at the major opera houses such as the Metropolitan Opera, the Scala Milan, the Vienna State Opera and the Royal Opera House Convent Garden in London. John Cox directed this lavishly equipped production by Julia Trevelyan Oman initially in London in 1977. On New Year's Eve 1990, this staging offered the luxurious ambiance for the farewell to Joan Sutherland from her London audience. The singer had admired them since her first great success at this prestigious opera house in the fifties. The rushing feast in the second act reached its climax with its stormy cheered performance and the commitment of her friends and colleagues Luciano Pavarotti and Marilyn Horne, with whom she often stood together on the stage.

Intrigue, champagne, and irony: in a production directed by Barrie Kosky, the Bavarian State Opera presents a sparkling production of Johann Strauss II's Die Fledermaus.

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

If there has been an "edit" somewhere on the music theatre scene since the dawn of the new millennium, which has been noted by the chroniclers as a tangible scandal - then the Salzburg festival production of the operetta "The Bat" by Johann Strauß, staged by Hans Neuenfels. Neuenfels, born in Krefeld in 1941 and long known as the "enfant terrible" of the theatre scene, was not the first within the reception history of the "bat" who dared to scratch their paint. This time there was not only an unconventional direction, but also serious interventions in the libretto. Neuenfels has written new dialogues, incorporating texts from other authors: Karl Kraus, Gottfried Benn, Hugo Ball. Conductor is Marc Minkowski.

The plot of Die Fledermaus is woven around a ball given by Prince Orlofsky.

Witty, fun, intoxicating film of Johann Strauss II's popular operetta, based on a stage production from Vienna State Opera; this is a showcase for the entire cast, but most especially Eberhard Wächter as the insufferably boorish Gabriel Eisenstein, and Gundula Janowitz as his long-suffering wife. Open the champagne, have yourself some torte, and enjoy this delectable comedy from Vienna.

After the Viennese premiere, the Fledermaus (the bat) conquered the world. It is one of the few operettas that are regularly performed at the major opera houses such as the Metropolitan Opera, the Scala Milan, the Vienna State Opera and the Royal Opera House Convent Garden in London. John Cox directed this lavishly equipped production by Julia Trevelyan Oman initially in London in 1977. On New Year's Eve 1990, this staging offered the luxurious ambiance for the farewell to Joan Sutherland from her London audience. The singer had admired them since her first great success at this prestigious opera house in the fifties. The rushing feast in the second act reached its climax with its stormy cheered performance and the commitment of her friends and colleagues Luciano Pavarotti and Marilyn Horne, with whom she often stood together on the stage.

Intrigue, champagne, and irony: in a production directed by Barrie Kosky, the Bavarian State Opera presents a sparkling production of Johann Strauss II's Die Fledermaus.

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

If there has been an "edit" somewhere on the music theatre scene since the dawn of the new millennium, which has been noted by the chroniclers as a tangible scandal - then the Salzburg festival production of the operetta "The Bat" by Johann Strauß, staged by Hans Neuenfels. Neuenfels, born in Krefeld in 1941 and long known as the "enfant terrible" of the theatre scene, was not the first within the reception history of the "bat" who dared to scratch their paint. This time there was not only an unconventional direction, but also serious interventions in the libretto. Neuenfels has written new dialogues, incorporating texts from other authors: Karl Kraus, Gottfried Benn, Hugo Ball. Conductor is Marc Minkowski.

The delightful light operatic farce by Johann Strauss is presented at the Morbisch Lake Festival (Seefestspiele Mörbisch) starring Herbert Lippert, Richard Samek, Heinz Zednik and Dagmar Schellenberger.

Live performance from the Metropolitan Opera, 31 December 1986.

Johan Strauss Eine Nacht in Venedig (1883) together with Die Fledermaus and Die Zigeunerbaron, has long been among the three most popular of the more than a dozen operettas composed by the 19th c. Waltz King. This Rudolf Bibl conducted performance was recorded live during the Seefestspiele Moerbisch Austria Festival in 1999 and features Marc Clear, Gideon Singer, Evelyn Schörkhuber , Ingrid Habermann, and Anton Steingruber.