| Die Fledermaus | |
|---|---|
| Operetta byJohann Strauss II | |
 | |
| Librettist | |
| Language | German |
| Based on | Gefängnis byJulius Roderich Benedix |
| Premiere | |
Die Fledermaus (German:[diːˈfleːdɐˌmaʊs],The Bat, sometimes calledThe Revenge of the Bat) is anoperetta composed byJohann Strauss II to a Germanlibretto byKarl Haffner andRichard Genée, which premiered in 1874.
The original literary source forDie Fledermaus wasDas Gefängnis (The Prison), afarce by German playwrightJulius Roderich Benedix[1] that premiered in Berlin in 1851. On 10 September 1872, a three-act Frenchvaudeville play byHenri Meilhac andLudovic Halévy,Le Réveillon, loosely based on the Benedix farce, opened at theThéâtre du Palais-Royal.[2] Meilhac and Halévy had provided several successful libretti forOffenbach.Le Réveillon later was adapted as the 1926 silent filmSo This Is Paris, directed byErnst Lubitsch.
Meilhac and Halévy's play was soon translated into German by Karl Haffner (1804–1876), at the instigation ofMax Steiner, as a non-musical play for production in Vienna. The French custom of a New Year's Everéveillon, or supper party, was not considered to provide a suitable setting for the Viennese theatre, so it was decided to substitute a ball for theréveillon. Haffner's translation was passed to the playwright and composerRichard Genée,[1] who had provided some of the lyrics for Strauss'sDer Karneval in Rom the year before, and he completed the libretto.
The operetta premiered on 5 April 1874 at theTheater an der Wien in Vienna and has been part of the regular repertoire ever since.
It was performed in New York underRudolf Bial at theStadt Theatre on 21 November 1874. The German première took place at Munich'sGärtnerplatztheater in 1875.Die Fledermaus was sung in English at London'sAlhambra Theatre on 18 December 1876, with its score modified byHamilton Clarke.[3]
When the operetta came to Paris in 1877 at theThéâtre de la Renaissance, asLa Tzigane, an amalgamated adaptation ofDie Fledermaus andCagliostro in Wien withIsmaël andZulma Bouffar in the cast, it was not a success.[4] It was not until 1904, in a version based on Meilhac and Halevy's play, with words adapted byPaul Ferrier to the music (withMax Dearly andÈve Lavallière in the cast) didDie Fledermaus find success in Paris and enter the repertoire.[5]
The first London performance in German did not take place until 1895.[3] According to the archivist of theRoyal Opera House, Covent Garden, "Twenty years after its production as a lyric opera in Vienna, [composer and conductor Gustav]Mahler raised the artistic status of Strauss's work by producing it at theHamburg Opera House [...] all the leading opera houses in Europe, notablyVienna andMunich, have brightened their regular repertoire by including it for occasional performance."[3]
The role of Eisenstein was originally written for atenor but is now frequently sung by abaritone. The role of Orlofsky is atrouser role, usually performed by amezzo-soprano, sometimes by acountertenor and occasionally – an octave lower – by atenor.[6]
The party of act 2 allows productions to insert a variety of additional entertainment acts, such as music, comedy, or dance. The lengthy drunken soliloquy by Frosch (a comedy speaking role) in act 3 also permits variety in performance.
| Role[7] | Voice type | Premiere cast, 5 April 1874 Conductor: Johann Strauss II[8] |
|---|---|---|
| Gabriel von Eisenstein | tenor/baritone | Jani Szika |
| Rosalinde,Eisenstein's wife | soprano | Marie Geistinger |
| Adele,Rosalinde's maid | coloratura soprano | Caroline Charles-Hirsch |
| Ida,Adele's sister | soprano | Jules |
| Alfred,a singer-teacher | tenor | Hans Rüdiger |
| Dr Falke,a notary | baritone | Ferdinand Lebrecht |
| Dr Blind,a lawyer | tenor | Carl Matthias Rott |
| Frank,a prison governor | baritone | Carl Adolf Friese |
| Prince Orlofsky,a Russian prince | mezzo-soprano (en travesti) | Irma Nittinger |
| Yvan,the prince's valet | speaking role | |
| Frosch,a jailer | speaking role | Alfred Schreiber |
| Party-goers and servants at Prince Orlofsky's (chorus) | ||
Eisenstein's apartment
Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein's maid, receives a forged letter, allegedly from her sister who is in the company of the ballet, but actually written by Eisenstein's friend Falke, inviting her to Prince Orlofsky's ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein's wife) for an evening off ("Da schreibt meine Schwester Ida"/"My sister Ida writes to me"). Falke arrives to invite him to the ball (Duet: "Komm mit mir zum Souper"/"Come with me to the supper"). Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Trio: "O Gott, wie rührt mich dies!"/"Oh dear, oh dear, how sorry I am") but really intending to postpone jail for one day and have fun at the ball.
After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her ("Täubchen, das entflattert ist"/"Dove that has escaped"). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: "Glücklich ist, wer vergisst"/"Happy is he who forgets" followed by Rosalinde's defence when Frank arrives: "Mit mir so spät im tête-à-tête"/"In tête-à-tête with me so late", and Frank's invitation: "Mein schönes, großes Vogelhaus"/"My beautiful, large bird-cage".)
A summer house in the Villa Orlofsky
It transpires that Falke, with Prince Orlofsky's permission, is using the ball as a way of getting revenge on Eisenstein. Some time before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name "Marquis Renard", Frank is "Chevalier Chagrin", and Adele, who has borrowed one of Rosalinde's dresses without permission, pretends she is an actress.
The ball is in progress (Chorus: "Ein Souper heut' uns winkt"/"A supper is before us") and the Prince welcomes his guests ("Ich lade gern mir Gäste ein"/"I love to invite my friends"). Eisenstein is introduced to Adele, but is confused as to who she really is because of her striking resemblance to his maid. ("Mein Herr Marquis"/"My lord marquis", sometimes referred to as "Adele's Laughing Song"). Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky's great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feeling and manly camaraderie for each other.
Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the "Czardas", a sentimental dancing-song ("Klänge der Heimat"/"Sounds from home"). During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband's pocket, something which she can use in the future as evidence of his impropriety. (Watch duet: "Dieser Anstand, so manierlich"/"Her bearing, so well-mannered"). In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates (The Champagne song: "Im Feuerstrom der Reben"/"In the fire stream of the grape"; followed by the canon: "Brüderlein, Brüderlein und Schwesterlein"/"Brothers, brothers and sisters" and the waltz finale, "Ha, welch ein Fest, welche Nacht voll Freud'!"/"Ha, what joy, what a night of delight".) Eisenstein and Frank dash off as the clock strikes six in the morning.
(Note: The "Champagne song", which is sung by the entire ensemble, should not be confused with the baritone aria "Fin ch' han dal vino" fromDon Giovanni, which is often called the "Champagne aria".)
In the prison offices of Warden Frank
The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by Warden Frank's absence to become gloriously drunk. Alfred, still in jail in Eisenstein's place, irritates the other prisoners by singing operatic arias.
Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this (Melodrama; Couplet of Adele: "Spiel' ich die Unschuld vom Lande"/"If I play the innocent peasant maid"). Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. He is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank had arrested in Eisenstein's apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind's wig and glasses in order to disguise himself and confront the impersonator Alfred, who Eisenstein now believes has cuckolded him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance (Trio: "Ja, ich bin's, den ihr betrogen...Ra-ra-ra-ra-Rache will ich!"/"I'm the one who was mistreated....Ve-ve-ve-ve-vengeance is mine!"). However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky's party was actually Rosalinde in disguise and that he, not she, is at fault.
Falke enters with all the guests from the party and explains that the whole thing was payback for Eisenstein's practical joke on him three years before. Eisenstein is delighted by the prank, and he begs Rosalinde to forgive him for his attempted infidelity. Rosalinde refuses at first and threatens to divorce him, but Eisenstein tells her that his misbehavior was caused by the champagne. She accepts this explanation and immediately forgives him unconditionally. Orlofsky promises to finance Adele's acting career, and the company joyfully reprises the "Champagne song" from act 2.
Strauss's music has been adopted for at least two musical comedies:[9]
Die Fledermaus has been adapted numerous times for the cinema and for TV:
Notes
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