DIE FLEDERMAUS BY THE SÃO CARLOS AND TIVOLI THEATRE
By Nicolás Isasi
On a wonderful evening, the Tivoli Theatre in Lisbon, began the celebration of its centenary with the operetta The Bat (Die Fledermaus in the original version, O Morcego in Portuguese), by Johann Strauss II in a São Carlos National Theatre production. Premiered on 5 April 1874 at the Theatre an der Wien in Vienna, Die Fledermaus is one of the best-loved Viennese operettas and has been part of the regular repertoire ever since. The main action takes place in Vienna with many waltzes, czardas, and some of the numbers from the opera are currently performed every year at the Musikverein to celebrate the traditional New Year’s Concerts.
Die Fledermaus combines light-hearted comedy with bright and exquisitely precise musical motifs. This concert version has assembled a strong Portuguese ensemble cast along with the Choir of the São Carlos National Theatre. Antonio Pirolli was on the podium, conducting the Portuguese Symphony Orchestra. Tivoli Theatre opened its doors in 1924 at the Avenida da Liberdade in Lisbon and celebrated with this concert its 99th anniversary.
The Bat tells the story of Gabriel von Eisenstein (Luís Rodrigues), who has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind (Leonel Pinheiro). The role of Rosalinde, Eisenstein’s wife is played by Susana Gaspar. At Orlofsky’s Prince (Cátia Moreso) party, Rosalinda, wearing a mask is unidentifiable by her husband, Eisenstein, who proceeds to flirt with this unknown woman only to discover, that she has been flirting behind his back with her former lover Alfred (Marco Alves dos Santos). Unfortunately for Eisenstein, he is easily identifiable by his wife, and she is shocked at his impudence. This is the beginning of Eisenstein’s downfall. At the same party, prison governor Frank (Tiago Matos) tries his luck with the chambermaid Adele (Rita Marques) and faces possible blackmail the next morning.
The Bat has a significant number of spoken lines, which connects the music with the plot of the story. Frosch is a character with almost solely spoken lines played by Mário João Alves who was also the narrator and wrote part of the texts, which aids comprehension of the plot and allows the direct communication of jokes in a funny way with multiple references to Portuguese culture. Luís Rodrigues and Susana Gaspar, play the Eisensteins. Gaspar has a great voice and was a beautiful Rosalinde, with a grandly cut-glass accent, sounds gorgeous and her Czardas was a real highlight. Luís Rodrigues was a terrific Gabriele von Eisenstein. His tone was solid and pleasant, and his lyricism delightful. Rodriques was totally up to the task, very funny singing with sturdy, attractive tone, acting up a storm demonstrating his vast stage experience. Rita Marques makes a cocky Adele with her blazing high notes and staccatos, her tone was penetrating like laser, but soft contours and an outstanding performance. Cátia Moreso, who recently played Maria da Fonte in the CCB Auditorium, made a rare outing as the Russian prince Orlofsky and delivered a convincing fake accent. She sang her way through ‘Chacun à son goût’ like a parody character with ease and a splendid voice. Marco Alves dos Santos was the sleazy Alfred, lover of Rosalinde. He was hilarious demonstrating a beautiful and strong color of voice. Cecília Rodrigues (Ida) sang well, and she was a good acting partner. Tiago Matos reveals impeccable comic timing as Frank, with good vocal work, especially in the ensembles. Also remarkable was the warm baritone of João Merino as Dr. Falke and the tenor of Leonel Pinheiro as Dr. Blind.
Antonio Pirolli gets smooth string tone and plenty of woodwind verve from the Portuguese Symphony Orchestra. The wonderful overture was a delight to the ears and received a standing ovation from the audience. When Rosalinde says ‘Ich erde dein gedenken, des Morgens beim Kaffee’ (I will remember you in the morning over coffee), a delicate trumpet accompaniment could be heard. The chorus was precise and integrated with the orchestra, wich played with the kind of idiomatic gleam and Viennese lilt the score really requires.
The opera culminates with the bat’s revenge. The attack at the finale movement (‘Champagne song’) was something of a surprise for Rosalinde who knew how to ride immediately until the end of this hilarious piece, and everyone was drinking champagne while they were singing. The music is elegantly light, with a relentlessness that propels the operetta towards its culmination. The audience redeemed themselves by giving the singers well-deserved ovations at the end. And what better than the closing of everyone drink to champagne to start the celebration of the centenary of the Tivoli Theatre, with in 2024 will include 30 national and international productions to enjoy in the centre of Lisbon.
H&C contributor: Nicolás Isasi nasceu em La Plata, Argentina. Começou a estudar saxofone aos 10 anos. É Diretor de Cinema (FUC) e Opera Regié (Teatro Colón). Escreveu mais de 500 críticas de arte, publicadas em diversos livros, revistas e jornais nacionais e internacionais.
