Johann Strauss - Die Fledermaus / Domingo, Te Kanawa, Prey, Royal Opera Covent Garden

Johann Strauss - Die Fledermaus / Domingo, Te Kanawa, Prey, Royal Opera Covent Garden

Rating: FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! Half Skull, Meh.
Release Date: 14 October, 2003

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Johann Strauss - Die Fledermaus / Domingo, Te Kanawa, Prey, Royal Opera Covent Garden Reviews


It Has Some Sparkle FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! empty skull, sniff.
The first and third acts are both delightful, the second act is where I had a problem. Whereas the first and third acts followed the score fairly closely, the second act is greatly expanded with specialty performances that vary considerably in their ability to communicate. On repeated viewings, I found it increasingly easy to fast forward over several of the added performances. Such is the beauty of the DVD.

The first and the third acts generally make up for the somewhat bloated second act. The second act does have some enjoyable parts, and one can pick out the parts that will stand repeated viewings, and just skip over the others. I will admit that I've viewed the DVD in it's entirety only once; I have, on the other hand enjoyed the first and third acts, as well as selected parts of the second act many times.

The added performances are, in their own ways, competently done. I just feel the flow of the second act is seriously compromised by all of the extra performances.

On balance, I'm glad I have the DVD; the portions that I've mentioned favorably above are really quite good.

An Outstanding, Clever, Funny Production of Die Fledermaus FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY!
Johan Strauss II didn't get his reputation as Vienna's Waltz King for sitting around eating strudel mit shlag. He wrote glorious melodies...waltzes, polkas, mazurkas...that set people to dancing and smiling. His music still does.

Die Fledermaus is a Viennese fable of lechery, love, revenge and romance, of beautiful wives, juicy maids, amorous husbands, clever friends, a mysterious count and a drunken jailer, of white tie and tails, beautiful gowns, a gold watch and lots of champagne. Most of all, it is a light-hearted and mischievous story that features some of Strauss' most romantic and bubbling music which just washes over the audience. The story is too comically complicated to go into. Just remember that it's all about a bit of revenge for a practical joke played by one friend on another a year earlier. In Act One we're at the home of Gabriel von Eisenstein (Herman Prey), who is about to spend eight days in jail for an indiscretion. But his good friend, Dr. Falke (Benjamin Luxon), convinces him to delay the trip to the jail until the next day, so that the two can go to a magnificent dinner party, without telling Eisenstein's beautiful wife, Rosalinda (Kiri Te Kanawa), held by the mysterious Russian nobleman, Count Orlofsky (Doris Soffel). Ah, but then the plot thickens. Through clever stratagems, invitations have also secretly arrived for Rosalinda, who is to go in disguise so she can see for herself her husband's amorous ways, and for Roslinda's maid, Adele (Hildegard Heichele). All that follows is a story of mistaken identities, beautiful songs and, eventually, happy endings.

What makes this particular production at Britain's Royal Opera House so effective is that it's not only sung superbly, it's not only sumptuously mounted, but it's funny. The dialogue is spoken in a mixture of German, French, English and Italian in an amusing play on the characters' nationalities, but also on the nationalities of the singers. And the singers are not only in great voice but are seeming to take great delight in playing the characters. All of them, especially Herman Prey and Benjamin Luxon, appear to be having the times of their lives. Their good spirits are as infectious as the music they sing.

It's traditional for the party at the Count's to be interrupted by special surprise guest performers. Making appearances are Charles Azvanour, ballet stars Merle Park and Wayne Eagling in a stunning pax de deux choreographed by Frederick Ashton, and two genteel English ladies, Dame Hilda Bracket (who sings) and Dr. Evadne Hinge (who accompanies on piano). If you didn't know they were really...well, see for yourself. To fully appreciate them, you'll need to use Google. Joseph Meinraad plays the 3rd act non-singing drunken jailer, Frosch, who has several comic moments bantering with the conductor, Placido Domingo.

This is a filmed record of the performance. Clear subtitles are available and are probably recommended if you're not already familiar with the story and the songs. The only drawback is the quality of the DVD. It's not really bad, but is about at the level of a middling VHS tape.

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