Die Fledermaus JOHANN STRAUSS II (1825 – 1899)
STUDY GUIDE
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Table of Contents Welcome........................................................................................................................................................... 3 Opera 101.......................................................................................................................................................... 4 Attending the Opera.................................................................................................................................... 5 Characters and Synopsis........................................................................................................................... 7 The Genre, the People, the Place and its Effects............................................................................. 9 Die Fledermaus: Listening Guide.......................................................................................................... 12 What to Look For.......................................................................................................................................... 15 COC Spotlight: Cassandra Spence........................................................................................................ 18 Active Learning............................................................................................................................................. 19 Bibliography.................................................................................................................................................... 20
New this season: Careers in Opera Spotlight This season each Study Guide features a spotlight on an individual working at the COC. Learn about the many careers in opera and discover how the COC connects to Canada’s cultural landscape.
Cover: Preliminary costume sketch for Adele. Above: Preliminary costume sketch for Prince Orlofsky. Both sketches by costume designer Constance Hoffman for the COC’s new production of Die Fledermaus, 2012.
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Die Fledermaus Study Guide
Welcome The Canadian Opera Company returns in 2012/2013 with the ultimate season of drama, mischief, love, horror and sacrifice. In the fall, hear Verdi’s famous and raucous “Anvil Chorus” performed live in Il Trovatore, or escape to a fantasy world of madcap lunacy in Johann Strauss II’s popular operetta Die Fledermaus. Ring in the new year with legendary director Peter Sellars and Ben Heppner, one of the world’s leading tenors, in a poignant production of the greatest love story of all time, Tristan und Isolde, or experience La clemenza di Tito – the final operatic work of classical music’s uncontested rock star, W. A. Mozart. End the year with people losing their heads: hear Lucia hit the high notes of madness with Donizetti’s luscious cascading melodies in the dark and Gothic Lucia di Lammermoor; explore the biblical story of Salome in a celebrated production by Canadian film director Atom Egoyan; and witness the ultimate sacrifice by an order of Carmelite nuns during the French Revolution in director Robert Carsen’s staging of Francis Poulenc’s riveting Dialogues des Carmélites. The season is sure to inspire, shock and ignite the creativity of your students!
media literacy, and yes, even science (think acoustics and sound!). The COC’s Study Guides help enhance your students’ visit to the COC by giving them a glimpse into the history, music, themes and stories of the operas, while suggesting ways of putting their learning into practice. Thank you for choosing to introduce your students to the thrilling and vibrant world of opera. It takes a creative and courageous educator to expose students to innovative subjects beyond the traditional curriculum, and I hope that the COC’s Study Guides become a valuable educational resource for your efforts. Katherine Semcesen Associate Director, Education and Outreach
Opera at any stage of life! The COC runs over 20 programs for school groups, children, youth and adults. Discover more at coc.ca/Explore!
An evening at the opera is more than a night of entertainment. Opera provides many avenues for thoughtprovoking discussions and can be explored through many subjects beyond the arts, including history, social studies,
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Opera 101 What is Opera? The term “opera” comes from the Italian word for “work” or “piece,” and it is usually applied to the European tradition of grand opera. Opera is a form of storytelling which incorporates music, drama and design. Though its origins date back to ancient Greece, the form of opera we are familiar with today started in the late 16th century in Florence, Italy. Count Giovanni de’ Bardi was a patron and host to a group of intellectuals, poets, artists, scientists and humanists including Giulio Caccini and Vincenzo Galilei (father to the astronomer and scientist, Galileo Galilei, who was most famous for his improvements to the telescope). These individuals explored trends in the arts, focusing on music and drama in particular. They were unified in their belief that the arts had become over-embellished and that returning to the transparency of the music of the ancient Greeks, which incorporated both speech and song, and a chorus to further the plot and provide commentary on the action, would present a more pure, natural and powerful way to tell stories and express emotions. The first opera, Dafne, about a nymph who fled from Apollo and was subsequently transformed by the gods into a laurel tree, was composed by Jacopo Peri in 1597. From then on the early operas recreated Greek tragedies with mythological themes. During the 17th and 18th centuries, topics expanded to include stories about royalty, and everyday or common people. Some operas were of serious nature (called opera seria) and some lighthearted (called opera buffa). Since then operas have been written on a wide variety of topics such as cultural clashes (Madama Butterfly), comedic farce (The Barber of Seville), politicians on foreign visits (Nixon in China), the celebration of Canadian heroes (Louis Riel), and children’s stories (The Little Prince), to name a few. The COC presents works in the western European tradition but musical equivalents to European opera can be found in Japan, at the Peking Opera in China, and in Africa where it is called Epic Storytelling.
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What are the differences between operas, musicals and plays? Traditionally operas are through-sung, meaning they are sung from beginning to end with no dialogue in between. Singers must have powerful voices in order to be heard over the orchestra (the ensemble of instrumental musicians that accompanies the dramatic action on stage during an opera). Remember: opera singers don’t use microphones! Musicals are a combination of dialogue and sung pieces and often include choreographed numbers. The singers often use microphones and are accompanied by a pit band which includes more modern instruments like a drum kit, guitar and electronic instruments. Plays are primarily spoken works of theatre with minimal singing or music. There are always exceptions to the rule: though Les Misérables is through-sung it is still classified as a piece of musical theatre because of its style of music. By the same token, some operas, like Mozart’s The Magic Flute, have spoken dialogue in addition to singing.
What does opera feel like? Take five minutes out of the school day and instead of using regular voices to converse, ask the class to commit to singing everything. Make an agreement with the students that it’s not about judging people’s voices but about freeing our natural sounds. Make up the melodies on the spot and don’t worry about singing “correctly.” Did the musical lines help express or emphasize certain emotions? If so, how?
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Die Fledermaus Study Guide
Attending the Opera: Make the most of your experience Welcome to the Four Seasons Centre for the Performing Arts Photo: Sam Javanrouh
So you’re headed to the opera, and there are a few questions on your mind. What do I wear? Can I take photos of the performance? How will I understand it – isn’t opera in another language?! Relax! Here are a few tips on how to get the most out of your opera experience. First, there’s the question of what to wear. Some people think of the opera and imagine the entire audience decked out in ballgowns and tuxes, but that’s just not the case! People wear all sorts of things to the opera – jeans, dress pants, cocktail dresses, suits, etc. The important thing is to be comfortable and show personal flair. Wear something that makes you feel good, whether it be jeans or your nicest tie, and grab a sweater before you leave home – the air conditioning can be a bit chilly! Additionally, skip that spritz of perfume or cologne before you go out; the Four Seasons Centre for the Performing Arts is scent-free. Many fellow patrons are allergic to strong scents. Once you’re dressed, it’s important to arrive on time for the show. Late patrons cannot be admitted to the theatre, and you may have to watch the first act from a screen in the lobby rather than your seat. If you need to buy or pick up a
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ticket, arrive as early as possible, as sometimes the line-up for the box office can be quite long before a performance! The main doors open one hour before the performance starts. Line up there and have your ticket ready to present to the usher. If you have any questions about the performance, drop by the Welcome Desk to ask a member of the COC staff, who are full of useful information not only about the opera, but about COC programs in general. A pre-performance chat takes place in the Richard Bradshaw Amphitheatre (Ring 3 of the lobby) about 45 minutes before the show. These chats, given by members of our COC Volunteer Speakers Bureau, offer valuable insight into both the opera and the specific production that you’ll be seeing. Before the opera starts, take the opportunity to explore the lobby, known as the Isadore and Rosalie Sharp City Room. The Four Seasons Centre is Canada’s first purposebuilt opera house, engineered with state-of-the-art design and technology for the best possible acoustics. Notice that the sound of traffic, streetcars and the general bustle of the city barely reaches the lobby, even though an airy glass wall looks out onto one of the busiest intersections in Toronto.
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Stop by one of the bars and order a beverage for intermission or grab a snack. Browse the Opera Shop to pick up a memento of your experience at the opera. (Note: the Opera Shop is not open at dress rehearsals.) Walk up the stairs, passing a sculpture by Canadian artist Sorel Etrog as you go, and note the floating glass staircase – the longest free-standing glass staircase in the world! On the third floor, you’ll see the Richard Bradshaw Amphitheatre, home to our Free Concert Series. You’ll also see a mobile by artist Alexander Calder, adding some colour and whimsy to the space. Chimes ring throughout the lobby starting ten minutes before the performance, reminding everyone to get to their seats. Head towards the door noted on your ticket, grab a program from the usher, and find your designated seat. It’s best to use this time to open any candies or cough drops you might have and turn off your cell phone – the hall is built to carry sound, so small sounds travel further than you may think! If you’d like to get a picture of you and your friends at the opera, do so now – photography is not permitted once the performance begins. A camera flash is very distracting to the performers, who are working hard to stay focused and in character. As the lights go down and the audience quiets, listen carefully. Whatever little bit of outdoor sound you might have heard in the lobby (a siren passing, a rumbling streetcar) has been virtually eliminated here. Not a peep! That’s because the auditorium is physically separated from
the outside and the ground below, making for the best acoustic experience possible. Now it’s time to sit back and enjoy the opera! But wait – you forgot your Italian-to-English translator! Don’t worry about it. SURTITLES™ are projected on a horizontal screen above the stage. SURTITLES™ originate from the idea of “subtitles,” which are most commonly used in foreign films to make them more accessible outside of their country of origin. The COC was the first opera company to adapt this concept for the operatic stage. Slides containing the English translation of the libretto (text for the opera) are projected in a more visible place for the audience: above the stage. SURTITLES™ were first used by the COC at the premiere of the opera Elektra in 1983. Only the name could be trademarked, as the technology for the projections was already in existence. Opera companies from around the world have adopted this audience initiative under different names, and it has revolutionized opera stages around the world. Make sure to show your appreciation to the performers by laughing at humorous bits or applauding after a well-performed aria. If a performer has pulled off some particularly impressive vocal fireworks, it’s absolutely acceptable to yell out your appreciation in addition to applause. You may hear your fellow audience members shouting “bravo!” for a man, “brava!” for a woman, or “bravi!” for a group of performers. Feel free to join in!
Die Fledermaus will have you at the edge of your seat for approximately two and a half hours (includes one 25 minute intermission). The opera will be sung in German with English SURTITLESTM.
R. Fraser Elliott Hall. Photo: Tim Griffith
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Die Fledermaus Study Guide
Characters and Synopsis MAIN CHARACTERS Name Description Voice Type Gabriel von Eisenstein Man of private means Tenor Rosalinde Eisenstein’s wife Soprano Frank Prison warden Baritone Prince Orlofsky A wealthy Russian Mezzo-soprano Alfred Orlofsky’s singing teacher Tenor and Rosalinde’s former lover Dr. Falke Notary Baritone Dr. Blind Eisenstein’s lawyer Tenor Adele Rosalinde’s maid Soprano Ida Adele’s sister Soprano Ivan Prince’s valet Speaking role Frosch Jail guard Speaking role
Pronunciation EYE-zen-shtine rose-ah-LEEN-dah frUHnk or-LOFF-skee AL-fred FAL-kuh blint (short “i” as in squint) ah-DELL EE-dah EE-vuhn frosh
(l – r) Preliminary costume sketch for Dr. Blind, Eisenstein and Rosalinde by costume designer Constance Hoffman for the COC’s new production of Die Fledermaus, 2012.
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SYNOPSIS ACT I Gabriel von Eisenstein’s House
Over dinner, Orlofsky asks that Falke regale everyone with the story of the bat. Eisenstein insists that he’s the only one who can tell the story to its fullest: he proudly recounts an incident when he attended a costume ball and left an intoxicated Falke, who was dressed as a bat, asleep on a city bench instead of taking him home as promised.
The voice of Alfred, a tenor, can be heard through the open terrace doors, serenading Rosalinde, the mistress of the house. Alfred, an old flame, begs her to love him once again. Rosalinde’s chambermaid Adele busies about. Having been invited to a party at the home of the eccentric millionaire, Prince Orlofsky, she attempts to get the evening off by telling Rosalinde that her dear aunt is ill. Perhaps having heard this story before, Rosalinde denies Adele’s request, reminding her that Herr von Eisenstein will be leaving this evening to serve a short jail sentence for hitting a police officer over the head! But Eisenstein is coaxed by his friend Doctor Falke to attend Prince Orlofsky’s party disguised as the Frenchman “Marquis Renard” instead. Before Eisenstein leaves the house, ostensibly to serve his prison sentence, Rosalinde pretends to be heartbroken at his departure as does the maid Adele. But in fact, all three are planning on attending Prince Orlofsky’s ball that night and each one is playing up their sadness for the benefit of the other two. After Eisenstein leaves, Rosalinde changes her mind and gives Adele the evening off, not wanting anyone to catch a glimpse of Alfred. Alfred returns and makes himself comfortable, even slipping into Eisenstein’s dressing gown and getting into Rosalinde’s bed. Rosalinde begs Alfred to leave, but after a glass of wine, the two are back to their old ways. When a knock at the door turns out to be Frank – the prison warden – he naturally assumes that Alfred is Eisenstein, and whisks him away to serve out the sentence. ACT II The Party of the Year
Eisenstein and Frank dance and drink merrily, and pledge eternal friendship before going their separate ways at the end of the evening. Falke, Rosalinde and Orlofsky laugh at the inevitable outcome of the bat’s revenge. ACT III The Jail Eisenstein is shocked to see the chevalier when he arrives at the jail to serve his sentence. Frank confesses that he’s really the prison warden, and Eisenstein admits his true identity as well. Frank is confused, explaining that Herr von Eisenstein was brought in yesterday evening – arrested in the midst of a romantic night with his wife. Eisenstein demands to see his imposter, and Frank explains that he needs a permit. In the confusion Alfred’s attorney, Doctor Blind arrives. Eisenstein has an idea – he’ll disguise himself in the doctor’s cloak and wig in order to chat with Alfred. “Doctor Blind” interrogates Rosalinde and “Eisenstein.” He becomes so angry he casts off his disguise and accuses his wife of being deceitful. But his moral outrage is undercut when she shows him his pocket watch, revealing herself as the countess. Before Frank can toss Eisenstein into a jail cell, all the party guests arrive and exclaim, “Bat, let your victim go!” “What’s this?” asks Eisenstein. “The Revenge of the Bat” exclaims Falke, admitting to the scheme he concocted to exact revenge on his pal. Eisenstein takes the joke in good spirit and everyone agrees to blame the evening’s indiscretions on the root cause: champagne!
The guests begin arriving at Prince Orlofsky’s home. Falke confides to Prince Orlofsky that he’s prepared a domestic farce called “The Revenge of the Bat,” which will play out over the course of the evening for his amusement. Frank arrives under the alias of “Chevalier Chagrin,” and a masked Rosalinde appears disguised as a rich Hungarian countess. She flirts with Eisenstein and steals his pocket watch as proof of his evening of indiscretion.
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The Genre, the People, the Place and its Effects A Court Opera? It’s just what it sounds like: a beautiful theatre where works that were considered important were attended by the entire household of the royal court, including the higher and lower nobility, the clerics, ambassadors and ministers as well as important guests.
Die Fledermaus (The Bat) was an immediate hit at its premiere in Vienna in 1874. It was performed over 300 times at the Theater an der Wien over the next 25 years, and was the very first of Johann Strauss II’s operettas to be performed at the Court Opera. Between 1896 and 1921, it was performed nearly 12,000 times on German-language stages – more than any other operetta at the time. By today’s standards, it was like a very popular movie that everyone wanted to see. What’s an operetta? Operetta is characterized by its light music and subject matter compared to its musical counterpart, opera. Most operettas lean toward sentimentality, romance, comedy and satire. By contrast, most operas – with the exception of comic ones – are grandly dramatic or melodramatic. Another rule of thumb is that in almost all operas, everything is sung through – if you want to say something, you’ll have to do it in song! In operetta there is both speaking and singing, like in musical theatre. What’s the Theater an der Wien? The Theater an der Wien is an historic theatre located in Vienna (Die Fledermaus is set in Vienna). It was completed more than 200 years ago in 1801, and is still standing today. As one of the oldest theatres in Vienna, it has seen the premieres of many celebrated operatic and symphonic works including several of Beethoven’s symphonies.
Johann Strauss II
ABOUT THE COMPOSER
Theater an der Wien, Jacob Alt painting (1815).
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Johann Strauss II was born in what is present-day Vienna in 1825 to Johann Strauss I, who was also a musician and conductor of some renown in Austria. In his teens, Strauss II became a professional musician and played in several orchestras. At age 19, he established himself as his father’s greatest professional rival. Following his father’s death in 1849, Strauss took over his father’s orchestras, which had become a considerable business, requiring assistant conductors, librarians, copyists, publicists and booking agents for European and world tours. During this time, Strauss composed some of the most popular music of the day. His music was sung in theatres, danced to at balls and performed in concert halls throughout Europe. He was even given the nickname the “Waltz King” (which used to be his father’s calling), because his waltzes were his most famous compositions and greatest contribution to the
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musical repertory. Strauss was a musician who achieved a rare combination of fame and financial reward from his orchestral performances and tours.
in-residence Karl Haffner to develop the libretto (the words or text of the operetta). WHY IS IT POPULAR?
WHAT WAS VIENNA LIKE IN THE 1870S?
Die Fledermaus satisfied the public’s desire for elegant, danceable melodies that distracted from the pressure of contemporary economic circumstances. It was highly comedic and showcased Strauss’s brilliance at writing catchy, sparkling tunes. Yet Die Fledermaus wasn’t simply an exercise in escapism.
In the 1870s right before the great stock market crash of 1873, Vienna was experiencing a period of extraordinary economic growth. This surge was due in part to the rise and development of the railway system and the continuing effects of the Industrial Revolution. Not only did the railway make building and selling easier, but it also made migration to Vienna from rural areas more accessible. Over a few short years Vienna became the fourth-most populated city in the world. It was a time of great cultural output for the city – the famous Ringstrasse Boulevard was built and became home to many lavish and architecturally inspired public buildings and mansions. All this underscored the grandeur and opulence of the Habsburg Monarchy’s rule.
The work is as much a homespun love story to Vienna as it is a story about lust and mistaken identities. Those salon settings and champagne choruses that made Die Fledermaus famous were somewhat unusual for the genre. Operettas in the 19th century were more likely to be set in a distant time and place – medieval Germany or a fictional island – than in any recognizable city. But Die Fledermaus sought to represent Viennese identity amidst increased industrialization and economic expansion, while serving up a pleasing tonic to soothe an anxiety-gripped public in the wake of the 1873 crash. In managing to be at once topical and evasive about unsettling social realities, Die Fledermaus struck a balance that resonated with audiences and ensured it lasting life.
In the 1870s Viennese theatre owners were looking for a work written within the Austrian state that would resonate with its people. Theatres in Vienna wanted to reduce their dependence on imported works, notably the popular – but quite expensive – operettas of German-born French composer Jacques Offenbach. But in 1873 the Viennese Stock Exchange collapsed, resulting in major bank failures and a freeze on lending that substantially affected the European and American economies. (In fact, the subsequent depression was referred to as “the Great Depression” until the financial calamity of the 1930s!) With economic panic in the air, Viennese theatre directors were keenly aware that something light, entertaining and thoroughly uplifting was needed for the theatre-going audience.
Die Fledermaus continues to be popular more than 130 years after its premiere. It is in the repertoire of many large opera companies. In fact, it might be the world’s most frequently performed operetta. The work is a time capsule of Vienna at the fin de siècle (French for “end of century”), and its widely appealing artistic qualities have garnered it much admiration and attention. It’s arguably Strauss’s best work in a long, successful and prolific career – and that’s saying something!
SOURCE OF INSPIRATION The source of Die Fledermaus’s plot is generally attributed to Roderich Benedix’s (1811 – 1873) Das Gefängnis (The Prison), a popular comedy about mistaken identities, which premiered in Berlin in 1851. Twenty years later the famous French writers Henri Meilhac and Ludovic Halévy adapted the nearly forgotten play and produced it as a comedy in three acts at the Théâtre du Palais-Royal in Paris in 1872. Their title was Le réveillon (The Party). The success of the Meilhac-Halévy play inspired the Theater an der Wien to purchase rights to it shortly thereafter. They commissioned Strauss to write the music and enlisted the help of resident conductor Richard Genée and playwright
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In the 19th century, champagne production skyrocketed to reach an output of 20 million bottles in 1850, compared to 300,000 bottles in 1800. That’s almost 67 times more! Clearly, Strauss’s operetta assimilated something of Europe’s growing appreciation for the drink by featuring it so prominently.
Die Fledermaus Study Guide
SOME THINGS OF NOTE Single room settings: Most of the operetta takes place in single rooms – Eisenstein’s parlour, a room at Prince Orlofsky’s party, and the jail. In contrast to other 19thcentury operettas, Die Fledermaus is set in the very place and time it was written; this rejection of the foreign and fantastical in favour of interior scenes might reflect the desire to retreat into the home and family following the stock market crash of 1873. It was also cheaper for a theatre to depict a room in a private home than invest in an elaborate set design to present, for instance, a magical forest to its audience. Masked balls or Maskenfreiheit: Maskenfreiheit is the act of remaining masked for the duration of a party, as Rosalinde does when she impersonates a Hungarian countess at Orlofsky’s ball. Masks allow for a sense of freedom that comes from anonymity. Die Fledermaus satirizes the masked ball as a venue for casual flirtation without any consequences. The soubrette: Usually played by a young soprano, the soubrette is a flirtatious maid role, frequently featured in comedic operas and operettas including The Marriage of Figaro (Susanna) and Don Giovanni (Zerlina). In Die Fledermaus, Adele’s “Laughing Song” (see Musical Excerpt #3 on page 13) is an occasion for the servant to interact with her employer as musical and social equals. The song has become a benchmark of the soubrette repertory. Pants role: Refers to any male character that is portrayed by a female singer, and who the audience accepts as male. Roles are determined by vocal range and pants roles are a common theatrical convention used to identify an adolescent or a young man. In Die Fledermaus, Prince Orlofsky is a pants role, and will be played in the COC production by mezzo-soprano Laura Tucker.
Print published by Kimmel and Voight in New York, 1873.
THE WALTZ The waltz was a musical form in triple time (think “oompa-pa” with the emphasis on the “oom”) that emerged in regions like southern Germany, Austria, and Bohemia in the 18th century. The name might derive from the German word walzen (“rolling”), which suggests the smooth danceability of this particular musical style. Its evolution into a separate dance form (dance steps and techniques were set to waltz music) was gradual. But the simplicity of the musical style and the relatively uncomplicated dance steps propelled the waltz into widespread popularity.
In Austria, it is customary to welcome the New Year by dancing to Strauss’s most famous waltz, “The Blue Danube.”
Over the centuries, waltz music has been incorporated into other art forms, including musical theatre, ballet and opera.
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Die Fledermaus: Listening Guide In many ways, when it premiered, Die Fledermaus was the first significant example of a new form of entertainment: the Viennese operetta. During the mid-to-late 19th century, it was Jacques Offenbach’s very French comic operas which held the Viennese public in their thrall. The management of the Theater an der Wien was on the hunt for locally composed work to mount, and Strauss’s popularity made him an ideal candidate. He resigned his other positions (including the stewardship of the family orchestra) and devoted the rest of his life to composing for the stage.
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Recording: Johann Strauss, Die Fledermaus. Bayerisches Staatsorchester and Bayerischer Staatsopernchor under Carlos Kleiber, conductor. With Hermann Prey, Julia Varady, Lucia Popp, René Kollo and Bernd Weikl. Deutsche Grammophon, 457 7652.
MUSICAL EXCERPT “Overture” MUSICAL ELEMENTS AND SIGNIFICANCE Very much in the tradition established by operatic composers such as Rossini, Strauss uses the overture to whet the audience’s appetite for the piece they are about to hear and to put them in the appropriate mood. He begins with a brilliant fanfare of three fast-rising chords which immediately command attention, setting a light-hearted, far-from-serious tone. Strauss typically composed his operetta overtures as “preview” pieces, basing them on melodies from the operetta itself. In this case, most of the thematic material comes from Act I, with the addition of the famous “Fledermaus Waltz” from the Act II finale (this begins at 2:31). Remember that the waltz was Strauss’s specialty – he had already been crowned Vienna’s “Waltz King” long before composing works for the stage, which he began to do rather late in life at the age of 45. Following the frivolity of this waltz section, there is a change of tone at 3:40 when we hear a mournful oboe solo playing a melody from one of Act I’s trios – the moment at which the heroine, Rosalinde, expresses tongue-in-cheek “sorrow” at the prospect of her husband Gabriel von Eisenstein leaving to serve his jail sentence. The mood and tempo picks up again at 4:47, where Rosalinde’s mocking coloratura from the same Act I trio is echoed. Here, the quickly moving note passages indicate that she is actually overjoyed at her husband’s departure, as it will allow her to be alone with her lover, Alfred. This section also demonstrates a hallmark of Viennese operetta, which involves much flexibility in tempo. Listen how the music begins very slowly and then gradually picks up speed to convey the characters’ excitement as they anticipate the fun they’ll have at Prince Orlofsky’s ball.
Coloratura derives from the Italian colorare meaning “to colour.” It is an ornamental type of vocal music where several notes are sung for each syllable of the text.
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MUSICAL EXCERPT Act II, trio: “So muß allein ich bleiben” (“I must remain alone then”) CONNECTION TO THE STORY Rosalinde feigns sadness over her husband leaving for his prison sentence. Her maid Adele and husband Eisenstein share her mood, though none are as broken up as they appear to be since each is plotting to attend Prince Orlofsky’s ball. MUSICAL ELEMENTS AND SIGNIFICANCE As this “farewell trio” begins, we hear Rosalinde give voice to the same mournful melody introduced in instrumental form during the overture. Strauss is very specific in his use of the oboe to accompany the vocal line here since its sad, haunting tone is particularly suited to Rosalinde’s sentiment, however insincere it may be. When the tempo is kick-started at 1:23, the music shifts from a minor (usually associated with a sadder mood) to a major key (happy!), and instead of a smooth vocal line, we get a bouncing staccato tune that gradually accelerates to convey the characters’ anticipation of a fun night on the town. The toe-tapping rhythm in this section reminds us that first and foremost, Strauss was a writer of dance tunes and the key to the success of his stage works is that they are “dance operettas” with many dance rhythms represented, especially the waltz. When Adele sings “We’ll surely meet again!” at 2:49, the mock seriousness returns, but this time we hear a folk-like tune, which is a departure from the more dramatic style of Rosalinde’s music at the trio’s start. The musical folksiness is in keeping with Adele’s lower status as a servant and also serves as a reminder of operetta’s origins in the humbler German Singspiel (literally, “song-play”).
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MUSICAL EXCERPT Act II, aria: “Mein Herr Marquis” (“My dear Marquis”), also known as the “Laughing Song.” CONNECTION TO THE STORY At Prince Orlofsky’s ball, Adele arrives dressed in one of Rosalinde’s gowns. Eisenstein (who is supposed to be in jail) is also at the party. He recognizes Adele as his wife’s servant, but she denies it and ridicules Eisenstein for suggesting it. MUSICAL ELEMENTS AND SIGNIFICANCE Apart from the overture, this aria is probably the most well-known music from the operetta, a comic piece which offers plenty of opportunity for both vocal display (high, staccato coloratura sections – listen at 1:01) and coy flirtatiousness. It is popularly known as Adele’s “Laughing Song” due to its laughing refrain (repeated at 2:38 with extra vocal flourishes) which allows the servant to make fun of the master to her heart’s content. Adele “performs” this piece for an audience at the party (you’ll hear them clapping on the recording). After all, it is her ambition to become an actress, and having managed to escape her domestic duties for one evening, she grabs the spotlight. There is also a subversive element to this little song – its light-hearted waltz rhythm and fluffy coloratura sweeten its true purpose, which is a reversal of the servant/master roles, allowing Adele the possibility of revealing her boss’s own duplicity.
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MUSICAL EXCERPT Act II, aria: Csárdás: “Klänge der Heimat” (“Song of my homeland”) CONNECTION TO THE STORY Rosalinde comes to the party disguised as a masked Hungarian countess and, to prove her ancestry, performs a fiery csárdás (traditional Hungarian folkdance; pronounced char-dash). MUSICAL ELEMENTS AND SIGNIFICANCE The inclusion of this csárdás goes well beyond propping up Rosalinde’s Hungarian disguise. From 1860 to 1890, Vienna’s population more than tripled, largely because of an influx of immigrants from the provinces of the Hapsburg Empire: Bohemia, Moravia and Hungary. Many flocked to operetta performances and composers like Strauss treated them to the musical forms of their native lands – the mazurka, the polka and, in this case, the csárdás. Despite his non-Hungarian extraction, Strauss produced a remarkably accurate rendition of this traditional folkdance, which is characterized by a variation in tempo, beginning slowly and then gradually picking up speed to end in a very fast tempo. Start listening at 2:38 as the tempo gradually accelerates, building to an incredibly exciting conclusion.
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MUSICAL EXCERPT Act II, ensemble: “Brüderlein und Schwesterlein” (“Brother dear and sister sweet”) CONNECTION TO THE STORY Under the influence of champagne, the guests at Orlofsky’s party pledge eternal brotherhood and sisterhood to one another. MUSICAL ELEMENTS AND SIGNIFICANCE The Act II finale is launched by Eisenstein’s friend, Falke, calling for eternal friendship… provided they can remember their pledge in the morning! The ensemble begins with a broad melody (1:34) and is built up in canon form: once the initial tune is established, other tunes which imitate the original are added in and sung by different voices (3:03). Finally, the canon is enriched by the addition of the entire chorus. Strauss weaves a magical spell that seems to send everyone onstage into a state of slightly drunken bliss. In fact, they cease to use real words, lapsing into gibberish, singing “duidu” (a kind of German “lalala”) to a Viennese folk-like tune (4:22).
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What to Look For of a fun and sexy party highlights the psychological dynamics of societal repression eventually giving way to the emancipation of strong erotic urges.
Die Fledermaus is a new production, created by the COC with sets designed by Allen Moyer, lighting by Paul Palazzo and costumes by Constance Hoffman. The production will be directed by Christopher Alden and choreographed by Allison Grant. Christopher Alden has directed several productions for the COC, including Verid’s Rigoletto in the 2011/2012 season. Alden is a leading figure in modernist opera stagings. He is known for his use of contemporary imagery and an evocative visual style. Alden set Rigoletto, for example, in the nineteenth century, when it was written, instead of the Renaissance, the period in which it is usually set. Alden didn’t want the dress of the Renaissance era to detract from the audience’s ability to relate to the characters in the story and to their experiences. The use of unexpected or modern imagery is a common trope in Alden’s work. Traditionally, Die Fledermaus is staged with the aid of lavish costumes and sets that depict Vienna at the fin de siècle. This production however uses a minimalist set that is entirely black and white. While the opera is set in Vienna, you’ll notice that the time period shifts between the nineteenth century and the 1920s; this whimsical move from the restraint of a Victorian bedroom to the hedonism
FREUD AND THE VICTORIAN ERA Sigmund Freud (1856 – 1939) was a Viennese psychoanalyst whose theories offered a radical new account of human behaviour. Freud considered sexuality of paramount importance to understanding our actions and he endeavoured to map out how unconscious desires and thoughts – partially accessible through our dreams – affected the daily lives of people. Alden has created an edgier version of Die Fledermaus, one that examines society, marriage and gender identity through the lens of Freud’s theories on dreams and the unconscious. Rosalinde feels trapped by societal pressures to uphold the domestic roles of wife and housekeeper. Her and Eisenstein’s marriage bed remains onstage throughout the opera, both as a reminder of Rosalinde’s physical connection to the interior of the home and also to her repressed sexuality. When the wall cracks open, it symbolizes a crack in Rosalinde’s psyche and her own personal reality. We are transported into a very dreamy, surreal atmosphere that plays upon Freud’s theory that our dreams are a place
Preliminary maquette for Act I by set designer Allen Moyer for the COC’s new production of Die Fledermaus, 2012. Photo: COC
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where we confront our deepest, darkest desires. You’ll notice some interesting characters onstage. The men with raven heads, for instance, who pull Rosalinde’s carriage to Prince Orlofsky’s party, represent the unstructured and bizarre nature of dreams and their connection to the unconscious.
Hoffman’s costumes for the party are whimsical, sexy and humorous all at the same time. The variance in the styles of costume – sleepwear, lingerie, showgirl, and flapper – reinforce the dreaminess of the scene.
1920S AND THE GERMAN CABARET Orlofsky’s party is the manifestation of Rosalinde’s dreams and the collective unconsciousness of the repressed Victorian woman. The party is not a traditional ball with fancy dresses and tail coats; instead guests are dressed in sleepwear and lingerie or as cabaret dancers and 1920s showgirls akin to Marlene Dietrich. The costumes are an indication that we have moved from the reality of the Victorian era to the dream reality of a 1920s German cabaret, a time of female empowerment and expression through art.
Explore the costumes of Die Fledermaus, from vintageinspired coats and frocks to feather boas and candy-coloured pajamas! Listen as costume designer Constance Hoffman describes her inspiration for some of the key outfits from the opera.
Preliminary costume sketches for the chorus by costume designer Constance Hoffman.
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THE POCKET WATCH You’ll notice a large pocket watch onstage for much of the opera, which serves not only as a reference to the plot but also to Freud’s psychoanalytic ideas. The pocket watch swings gently back and forth on a pendulum, signifying the changes in society and the changing times. It also suggests the hypnotic sway of Eisenstein’s pocket watch, which he uses to seduce women.
THE STAIRCASE The guests arrive down a grand white staircase that features prominently in the party scene. As Rosalinde ascends the staircase, it symbolizes her expressiveness, and subsequently, her empowerment.
Preliminary maquettes for Act II by set designer Allen Moyer for the COC’s new production of Die Fledermaus, 2012. Photo: COC
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COC Spotlight: Cassandra Spence There is a team of brilliant artists and administrators who work hard behind the scenes to ensure that your opera experience is as thrilling as possible. Meet Cassandra Spence, one of the COC’s costume co-ordinators who helps ensure that the singers are looking as beautiful or as scary as the director and design team need them to be!
On a day-to-day basis the COC costume co-ordinators are busy helping with fittings, sourcing fabric and other sewing materials for the designers, and tackling an array of important tasks to support the work of many seamstresses, tailors and others in the costume department.
Position: Costume Co-ordinator Name: Cassandra Spence Role in the Company: Assisting the costume supervisor Hometown: London, Ontario Education: Fashion Design diploma First became interested in opera: After I had started to work in ballet and theatre I found out more about opera, but I had not been exposed to opera until I moved to Toronto for school. What made you decide to pursue this career path? I had always been interested in art, design and history, and costuming is a great combination of those things. If someone was interested in working in costumes, what would you recommend they have in terms of skills or experience? These days, it is best to attend a university that has a theatre course where you can major in costume design or costume technology. Sometimes, a college diploma will still be fine for technical skills, but to be a designer these days you really need a degree, and it helps to not only understand costumes but also sets and lighting as well. What do you love most about this career? I love the variety of shows we produce, because we are always working on something different with new creative teams. There is a constant opportunity to learn and grow. What do you enjoy the least about this career? Sometimes during rehearsals the hours can be very long. This is true for all work in theatre, opera or ballet (especially film!). What surprises you most about this career? I am always surprised at how hard everyone will work together to achieve a vision, and how even the most delicate of details will be taken into account. What excites you about this production? I think Constance Hoffman’s designs for this are some of the most beautiful pieces I have seen. She has managed to make the costumes funny and sexy and whimsical all at the same time, sort of like cabaret.
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Active Learning One of the best parts of taking your students to the opera is the discussion that live theatre can inspire. Take a deeper look into the themes and story of Die Fledermaus with these discussion questions and ideas for further exploration. DISCUSSION If you’ve been to an opera before, discuss the difference between an “opera” and an “operetta” like Die Fledermaus. Which form do you prefer? For more on the difference between opera and operetta, see The Genre, the People, the Place and its Effects on page 9. This operetta was originally staged in 1874 and is often set in that period as well. How did this staging differ? Do you feel the story translates well to different eras? If you were a director, how would you choose to stage Die Fledermaus – in the 1800s? In the modern era? In space? FURTHER EXPLORATION Johann Strauss II is known as the “Waltz King.” Listen again to the waltz from the end of Act II as well as some of Strauss’s other waltzes. Learn the waltz together as a class so you can dance to it and then create your own modernized interpretation of the waltz! Need some support from dance educators or ideas for lesson plans? Contact the Council of Drama and Dance (CODE). Bring some opera into your art class by exploring maskmaking and have each student make a mask to attend the “masquerade.” If they’d like, students can attend the masquerade with a fake persona, just like Rosalinde.
Did viewing the opera spark some scintillating debates or discussions? Would your students like to share examples of their work with the COC? Email us – we’d love to hear from you!
Preliminary costume sketch for Falke by costume designer Constance Hoffman for the COC’s new production of Die Fledermaus, 2012.
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Bibliography Crittenden, Camille. Johann Strauss and Vienna: Operetta and the Politics of Popular Culture. New York: Cambridge University Press, 2000. Print.
Phillips, Rod. A Short History of Wine. New York: Harper Collins, 2000. Print.
Fisher, Burton D. Johann Strauss’ Die Fledermaus. Florida: Opera Journeys Publishing, 2002. Print.
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The COC offers a wide variety of school programs for Kindergarten to Grade 12. To find out more, visit our website at coc.ca/Explore or contact: Education & Outreach Canadian Opera Company 227 Front St. E., Toronto, ON M5A 1E8 Tel: 416-306-2392 Fax: 416-363-5584 education@coc.ca
The COC gratefully acknowledges:
Die Fledermaus Study Guide Contributors and Editors: Katherine Semcesen, Associate Director, Education and Outreach; Nikita Gourski, Development Communications Officer; Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative; Carly Anderson, Children & Youth Programs, Manager; Vanessa Smith, School Programs Manager; Gianmarco Segato, Adult Programs Manager | Produced by the Canadian Opera Company Š 2012 Above: Summer Opera Camp, 2012. Photo: COC
Charitable Registration Number: 11883 4829 RR0001
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