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A Note from the Director

by Shawna Lucey

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Strauss’ gem of an operetta, whose title translates to “The Revenge of the Bat,” has infidelities, saucy maids, operatic tenors, a costumed ball, a jail, and Russian nobility…all set to the music of the “Waltz King.”

In thinking about Rosalinda and Eisenstein, who are hungry for a little entertainment, Orlofsky’s imperial gender-bending and pleasure-seeking nature, and Dr. Falke’s extraordinary revenge plan led me to the year 1959, when the first Playboy Bunny Club opened in New York City. This happy couple living in the suburbs just might find their way to a naughty Halloween party in Greenwich Village, with flashes of Stonewall just a few years on the horizon.

Our beloved characters are walking a razor’s edge between absurdity and dignity, making them comedic fodder and oh-so-painfully human. And much like life, no one in this operetta is absolutely right or exactly wrong. In assuming life can be made perfect, we are all exposed for our foolishness.

Best just pour out some bubbles, raise a glass, and enjoy every moment of this life with a generous heart and open mind. For as the Russian proverb warns, she who does not risk does not drink champagne.

A Note from the Conductor

by George Manahan

It is a joy to return to Opera Theatre of Saint Louis for the opening production of its 50th Anniversary Season. It’s hard for me to believe, but this is my sixth time conducting at Opera Theatre since 2003 — and most of my previous operas here were new or contemporary works, such as Champion, Emmeline, and Treemonisha.

So what is it about a classic title like Die Fledermaus (which premiered in 1874) that made me eager to return for this project, you might ask? Simply put, this opera is a joy to work on each and every time. It was created in a mad whirlwind with a very short timeline…the entire score was composed in just 42 days! Strauss tended to write faster than his librettist partners and for this particular opera, he composed several chunks of scenes before the words had even been written, which is quite unusual in opera.

This frenetic energy, where the music and the text lead and propel each other in equal measure, translates to a fast-paced and thoroughly delightful evening of music and theater. The score is both catchy and sumptuous, highlighting the best parts of the Viennese waltz tradition, although what you’ll see tonight is a slightly more contemporary imagining from our brilliant stage director, Shawna Lucey. I’m delighted for this opportunity to work once again with the members of the St. Louis Symphony Orchestra, the quality and reputation of which is truly unmatched in the world of opera.

I hope you enjoy the music and comedy of our Die Fledermaus — all hail the joys of love, brotherhood, and champagne!