SALT LAKE CITY — From “La Boheme’s” ill-fated love story to Captain Ahab’s obsessive quest in "Moby-Dick" to the murderous clown in "Pagliacci," there hasn’t been much to smile about in Utah Opera’s 40th season.
Which is why the company is making one thing very clear: The 40th season will end with a party.
Running May 12-20 at Capitol Theatre, Utah Opera will perform “Die Fledermaus,” a lighthearted operetta composed by Johann Strauss II filled with pranks, dancing, phony accents and champagne — lots of champagne.
Adding to the festive air is the fact that all cast members are familiar faces — no one in this ensemble is making a Utah Opera debut.
“End the season with a party and there is no better party opera than ‘Die Fledermaus,'” said Utah Opera’s artistic director Christopher McBeth. “ … The cast members are people who have had great success and have become favorites with our audiences, so we were in an enviable spot to bring back basically all of our friends to have a party.”
That party takes the form of “Die Fledermaus,” or “The Bat,” which features Falke seeking revenge on his friend Eisenstein, who abandoned him after a debaucherous evening and left him passed out and alone on a park bench while dressed in a bat costume.
Falke’s vengeful plan? Have the affluent Prince Orlofsky host a masquerade ball where Einsentein’s flirtatious nature will be put to the test when he meets a beautiful Hungarian woman — who is actually his wife, Rosalinde, in disguise.
Recent Utah Opera attendees might recognize Falke, played by baritone Troy Cook, who unexpectedly filled the role of Marcello in this season’s opening production of “La Boheme,” when the original performer had a last-minute illness. Cook looks forward to his second appearance in the company’s 40th season, this time in a more frivolous role.
“Seeing ‘Die Fledermaus’ makes ‘La Boheme’ feel more poignant. When you see the tragedy of ‘La Boheme’ then … see ‘Die Fledermaus,’ it gives you a chance to escape the world and just laugh all night,” he said. “It’s nice to present a variety and to participate in a variety.”
Cook and the other lead roles have worked together in previous Utah Opera performances, making rehearsing for this final production a family reunion of sorts, according to mezzo-soprano Abigail Levis, who, in a bit of gender-bending casting, plays the role of Prince Orlofsky.
“Christopher McBeth does a great job of bringing people back he likes as artists but also likes as people, so this cast, we’re like besties,” she said. “We’re not accomplishing anything in rehearsals — we’re giggling and telling stories. It’s like a family reunion but with people I like.”
Levis should also be familiar to Utah Opera audiences as she was a resident artist from 2013-2015, participating in outreach programs and taking part in hundreds of performances for schools throughout Utah as well as taking on roles in Utah Opera productions.
“You get a ton of stage experience whether it be on the stage of Capitol Theatre or Abravanel Hall or the stage of Ogden Elementary School. That experience … is really, really important for young singers," she said. “Honestly, the most exciting audiences for me were the little kids because they were so receptive and they were so excited. I don’t think I’ll ever feel that kind of love again.”
And then there’s baritone Daniel Belcher, whose role as Eisenstein will mark his ninth appearance with Utah Opera. All of the performers’ extensive work with the company and with each other creates a chemistry onstage the performers hope will make the fun-filled “Die Fledermaus” as enjoyable for audiences as it has been for them.
Also contributing to the entertainment is Strauss’ music — complete with Viennese waltzes and polkas — that conductor Gary Wedow hopes will engage audiences.
“Every piece in ‘Fledermaus’ is a dance,” he said. “I think the wonderful thing about the piece is that the audience will be tapping their toes from the overture hopefully to the end of the piece if we’ve done our job right.”
The performers will also be dancing along to the music — a feat that can be a bit tricky when you’re already having to focus on speaking (“Die Fledermaus” contains a significant amount of dialogue), singing and acting. Fortunately for stage director and choreographer Kyle Lang, much of that dancing doesn’t have to be perfect as the performers become increasingly under the influence of champagne at the masquerade ball.
“If (the dancing) is very clean and (a) total Viennese waltz, that would not be a party I would’ve wanted to stay at. I would’ve left,” Lang said. “It should be people honestly having a great time. And that is the most important thing for me with every member of the cast, that you enjoy every second.”
“It’s a great time whether you drink champagne or not,” Levis said. “So either come and get a glass of champagne at intermission or come and let the music be your bubbles.”
If you go …
What: Utah Opera's “Die Fledermaus”
When: May 12, 14, 16 and 18, 7:30 p.m.; May 20, 2 p.m.
Where: Capitol Theatre, 50 W. 200 South
How much: $15-$94
Web: utahopera.org
Phone: 801-533-6683