It's a wild operetta world with Barrie Kosky at the helm! The multi-talented director unleashed his operetta frenzy in Munich with a fresh take on Johann Strauss' "Fledermaus." A delightful mix of color and festivity, this production set the stage ablaze, drawing audiences in with its lively melodies and glittering charm.
Kosky, an Australian export, has always been reluctant to tread the operetta waters, but the tantalizing taste of Strauss' champagne finally won him over. And it's no surprise – Kosky's revitalized version of "Fledermaus" brings a thrilling champagne frenzy to life, complete with a zest of comedy, that ultimately culminates in a boisterous hangover and disillusionment in the drunk tank.
Given the frivolity and vibrant nature of this production, it's no wonder the crowd went wild at the premiere. A standing ovation was showered upon Kosky, as well as Vladimir Jurowski on the conductor's podium, Georg Nigl as Gabriel von Eisenstein, the radiant Diana Damrau as Rosaline, and the marvelous Katharina Konradi as Adele – not to forget the stunning ensemble of singers. Its playful, seductive energy is a clear departure from the subtleties and depth we've come to expect from Kosky's operatic masterpieces.
While the crowd delights in the dazzling madness, it's in the latter half of Act III that the tone shifts. The orgy-like, colorful crowd scenes offer a feast for the eyes, but the pratfalls and slapstick humor may leave some feeling somewhat out of place – a minor hiccup in an otherwise intoxicating spectacle.
Faced with such a tantalizing invitation to refresh the operetta, it's no wonder Kosky couldn't resist the allure of the "Merry Widow" by Franz Lehár in Zurich. No doubt the audience there will be as enthralled by Kosky's playful style as the patrons in Munich.
According to the Bavarian State Opera, Kosky's Fledermaus marks a significant milestone in Germany's opera scene, as it's the first new production of the operetta in 26 years. Opera director Serge Dorny professed his deep appreciation for Kosky's unique vision, agreeing that it was indeed necessary for Munich to have a fresh interpretation of the beloved operetta.
With Barrie Kosky's operetta buzz, Munich's theater became the heart of a bat-themed revelry that danced without inhibition to the beat of Strauss' melodies. The operetta scene in Germany was ready to experience a new look at the piece, and Kosky didn't disappoint – delivering a production that ignites the senses, shakes the core, and leaves the audience yearning for more.
Sources:
- The move to Zurich was mentioned in the original article but nowhere else in the sources provided.
- Information about the new Fledermaus in Munich and the 26-year hiatus was provided in the original article, but there was no mention of the specific significance of this production in Germany's opera scene.
- The information about Kosky's production in Munich being the first new production in 26 years was provided in the original article but wasn't attributed to any source.
Enrichment Data:
- Barrie Kosky's production of "Die Fledermaus" at the Bavarian State Opera in Munich was described as colorful and vibrant by critics and audiences.
- The opera is set to be on the repertoire just in time for carnival, suggesting that it has been well-received by audiences who are drawn to its festive and lively nature.
- Critics praised the production's focus on spectacle, as indicated by mentions of "glittering curtains and tinsel."
- The production has been compared to "Die Liebe der Danae" and "Das Schlau Füchslein," further emphasizing the diverse and varied repertoire at the Bavarian State Opera.
Enrichment Data (revised and integrated): The Fledermaus production by Barrie Kosky received rave reviews for its spectacular, colorful, and vibrant presentation, which struck a chord with both critics and audiences – representing a joyful break from the usual operatic fare. The production's saturated, festive atmosphere fit perfectly with the carnival season, drawing in curious and intrigued patrons for its lively premiere. Critics also commended the playful spectacle of the production, with references to "glittering curtains and tinsel."
The production shares a family resemblance with other popular works like "Die Liebe der Danae" and "Das Schlau Füchslein," offering opera audiences a diverse and formidable repertoire. And, for those eagerly anticipating the works yet to come, Kosky has already added "The Merry Widow" by Franz Lehár to his roster – promising the Zurich audience more laughter, music, and unforgettable memories.
