Since this season is Utah Opera's 25th year, what better way to celebrate the company's milestone than with Johann Strauss' timeless operetta "Die Fledermaus"?
The carefree high spirits and effervescent melodies of this perennial favorite make it the perfect choice to celebrate the occasion. "This is going to be toe-tapping fun," said Jeffrey Mattsey, the production's Eisenstein.
"Die Fledermaus" opens its five-performance run in the Capitol Theatre on Saturday. Not seen here since 1989, Strauss' stage masterpiece is making a long overdue reappearance with Utah Opera. Performed in English, this production uses a new translation that emphasizes the broad comedy of the story and promises to be filled with local humor and references to the company's silver anniversary.
Guiding everything will be stage director Ira Siff. The native New Yorker began his career as a singer in 1970, performing everything from opera to musical theater. In 1981, he founded La Gran Scena Opera Co. di New York, an all-male troupe that parodies operatic divas and their mannerisms. The shows are presented in gala format, and Siff plays Madame Vera, an aging diva. "We poke fun at the singers but never the music," Siff said. "La Gran Scena is a spoof of prima donnas but a tribute to opera."
Siff is the obvious choice to direct "Die Fledermaus." With his background in opera and his experience with comedy, he knows what will work and how to play it. "It's great fun working with Ira," said Kelly Cae Hogan, who sings Rosalinda. "He's good with shtick and comedy."
"I love shtick," Siff said. "We even have what I call 'shtickprobes,' " a play on English and German words. ("Stichprobe" is the German for "spot check," but "probe" by itself also means "rehearsal.")
However, Siff said that in spite of the broad comedy found in this production, this is nevertheless a traditional "Fledermaus." "I'm trying to make human foibles as interesting as possible. 'Die Fledermaus' is really a 'cheat-a-thon,' with both Eisenstein and Rosalinda saying, 'I can cheat on you, but you can't cheat on me.' And you love watching them try to be unfaithful. But their attempts are always frustrated, and they end up the wiser for it."
For Siff, the point that comes across in "Die Fledermaus" is similar to that in Mozart's "Cosi fan tutte." "In 'Cosi' and 'Fledermaus,' fidelity is not the only way to behave," he said. "Fidelity is a choice you make for reasons that outweigh infidelity. It's a part of growing up, a part of maturity. You see that with the characters of Ferrando and Guglielmo (in 'Cosi'), and you also see it with Eisenstein and Rosalinda."
Nor is "Die Fledermaus," in Siff's view, the tasty bit of fluffy Viennese pastry that audiences have come to expect. According to him, there is much more to the music than just a series of catchy tunes. "Strauss' music is like Offenbach's, in that it's a real mirror in the psychology of the characters. That's reflected in the music, and Strauss did a magnificent job with it."
The characters, too, are more complex than you usually find in late 19th century operetta. "Eisenstein is a sophisticated man," Mattsey said. Comparing him with the two male leads in Mozart's "The Marriage of Figaro," he added that "Eisenstein is a sort of cross between Figaro, with his quick thought and wit, and the Count, who bullheads straight into things. But all the while you have to play him as a Cary Grant straight man. He's a multiple-layered character who has to pull off a farce."
Hogan added that Eisenstein and Rosalinda are made for each other, and in fact have a lot in common. "Rosalinda leans towards stepping outside their marriage but never succumbs, even when her old boyfriend Alfred shows up unexpectedly."
But unlike her husband, whose past is outlined early on in the first act, when Eisenstein and Falke reminisce about their college days together, Rosalinda's is never brought up. "Eisenstein's background is allowed to come out more," Hogan said. "I had to create a little history for (Rosalinda)." Before marrying Eisenstein, Rosalinda, in Hogan's conceptualization, was either an actor, a singer or possibly a dancer. "She had a career on stage. That would explain how she came to know a singer like Alfred, and it would also justify her singing the 'Czardas' in Act II."
Both Hogan and Mattsey agree that it has been a particular pleasure working with Siff. Having been a performer for some 30 years before taking up directing, Siff has a more balanced perspective than other directors. "He can see his role as a director from the performer's viewpoint," said Mattsey, who met Siff a few years ago in a production of "Die Fledermaus" at Chautauqua, where Siff sang the role of Prince Orlofsky. "Ira is easy to work with, and there is a lot of give and take with him."
"As a director, I know that singers are grateful that I'm also a performer," Siff said. "I never object to things that they want to do, and they can always bring their ideas to rehearsals. I take into account what the singers are going through, because I know. I've been there."
The cast for this production also includes Utah native Celena Shafer in the role of Adele, Samuel Mungo as Dr. Falke, Donald Sherrill as Frank, Gary Rideout as Alfred and Stacey Rishoi as Prince Orlofsky. Matthias Kuntzsch makes his seventh Utah Opera appearance leading members of the Utah Symphony and Utah Opera Chorus.
If you go. . .
What: "Die Fledermaus"
Where: Capitol Theatre
When: 7:30 p.m., March 15, 17, 19 and 21; 2 p.m., March 23
How much: $14-$65
Phone: 355-2787 or 1-888-451-2787
Related events
What: Women's Issues in Opera Forum: read-through of "Die Fledermaus" libretto and discussion led by Katherine Kennedy and Mary Talboys
Where: Helen Jarman Board Room, YWCA, 322 E. 300 South
When: 7 p.m., March 11
How much: free
What: Lights! Action! Music! symposium, with conductor Matthias Kuntzsch, stage director Ira Siff and costume designer Susan Memmott Allred
Where: Capitol Theatre
When: 12:15 and 1 p.m., March 13
How much: free (participants invited to bring a box lunch
What: Ogden Opera Guild Brunch
Where: Absolute Restaurant, 52 W. 200 South
When: 11 a.m., March 23
Phone: 801-479-6531
E-mail: ereichel@desnews.com