DIE FLEDERMAUS
This debate is similar to the current debate about whether opera companies should produce Broadway musicals; in fact, musical and operetta are virtual synonyms in that both are sung dramas dependent on much spoken dialogue to move the action along. Much of the debate boils down to one issue: does one hire actors who can sing, or singers who can act? Or more probably, actors who can do some singing, or singers who can do some acting?
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Die Fledermaus is a work bursting with beautiful melody and music, light though they may be. There is little question that having trained voices sing the roles helps ensure that the music is communicated effectively. But projecting emotion and story through singing alone, particularly in a language foreign to an audience that is dependent on projected supertitles for the content, is far different from alternating singing with acted dialogue. I certainly agree in principle that an opera company has the right to stage an operetta, or for that matter, a musical. But when it does, special care must be taken to avoid certain pitfalls. Unfortunately, Lyric’s present production has not avoided them.
Soprano Barbara Daniels sang the role of Rosalinda with a pretty wavery tone, though often with flat top notes–perhaps this was for comic effect, but I didn’t find it funny. She also overacted considerably in her speaking bits. Adele, the chambermaid and would-be actress, was sung by coloratura Barbara Bonney in her Lyric debut. She had the clearest tone and diction in the cast, though she too overacted in the dialogue sections.
Certain contemporary adaptations were made to the libretto, which is customary. These, however, were in pretty poor taste. There were mentions of Chicago and Lyric that weren’t funny and had nothing to do with the operetta; the prince sings of how easily he gets bored, then mentions that there’s always Oprah Winfrey and Lyric Opera. Now there’s excitement, eh? Still, that remark can’t compare to Rosenshein’s saying “You should hear me as Don Carlo,” followed by loud cast (as opposed to audience) applause. Rosenshein takes a bow and says, “Chicago, Chicago, my kind of town. Mike Ditka, eat your heart out.” Pass the puke bags.
