Die Fledermaus
Synopsis

THE SETTING
Time: The present
Place: A large European city

ACT I
The home of Gabriel von Eisenstein

Eisenstein prepares to bid his wife Rosalinda farewell. Through the incompetence of his lawyer, Dr. Blind, he has been sentenced to spend eight days in the town jail. Although the situation is seemingly tragic, Eisenstein, his wife, and their ambitious maid, Adele, have devised their individual ways to get the most out of the situation! Eisenstein's old friend, Dr. Falke, arrives and suggests that the two of them go to Prince Orlofsky's party to celebrate Eisenstein's last hours of freedom before Eisenstein reports to jail. Falke plans to use the evening as revenge for a practical joke Eisenstein played on him. (It seems that previously Eisenstein had left a drunken Falke to sleep it off on a park bench instead of taking him home after a masquerade ball. Falke woke up the next morning and had to walk home dressed as a bat (Die Fledermaus) amid the taunting and laughing of passersby.) Orlofsky's party is the talk of the town. Adele receives a letter from her sister, Sally, one of the dancers who has been invited, suggesting she borrow one of her mistress's dresses and attend herself. After Falke and Eisenstein leave, Rosalinda's former lover, the operatic tenor, Alfred, arrives, serenading her in typical Italian fashion, swearing his eternal love. When the prison governor, Frank, arrives at the house, he naturally assumes that the man sharing an intimate moment with Rosalinda is her husband, and he takes Alfred off to jail!

ACT II
The palace of Prince Orlofsky

The Russian Prince Orlofsky is giving a magnificent ball, but he appears to be the only one not enjoying himself -- everything and everyone bores him. He tells the crowd that at his parties there is only one rule -- that each does according to his own taste -- "Chacun à son goût." Eisenstein, posing as the Marquis Renard, meets a glamorous actress who bears a startling resemblance to his wife's maid. It is, in fact, Adele, and when Eisenstein tells her of the resemblance she mocks him by telling him that such presumption makes her laugh! At this point a surprise guest is announced -- Rosalinda disguised as an exotic Hungarian Countess. Eisenstein then engages in a lengthy flirtation with the masked guest of honor, not realizing it is his wife. Rosalinda manages to take the watch which Eisenstein has always used to seduce women, and thereby secures proof positive of his philandering. Meanwhile, another fake French nobleman has arrived: Chevalier Chagrin who is really Frank, the prison governor. In the midst of all this intrigue, Falke offers a hymn to happiness and brotherly love, joined by all the others. After waltzing, flirting and much champagne, the party breaks up at dawn.

ACT III
The town jail

Frosch, the tipsy jailer, is trying to keep things quiet while doing his duties, but the prisoner in cell number 12 (Alfred) insists on singing opera excerpts. Prison governor Frank arrives a little worse for his revelry at the party and has trouble staying awake after such a grand evening. Adele enters and tells him that she is not really a glamorous actress, but certainly has the talent for it. She hopes that Frank can sponsor her debut. Eisenstein at last reports to the jail and is delighted to find that his new friend is the governor, but Frank is confused. Apparently there is already an Eisenstein behind bars who is waiting for his lawyer, Dr. Blind. When the lawyer arrives, Eisenstein impersonates him and questions Rosalinda and Alfred, then reveals his identity. As Eisenstein begins a self-righteous tirade as a wronged husband, Rosalinda produces his watch, proving him as great a flirt as she. Falke's revenge is declared complete, and all of Orlofsky's party guests arrive to celebrate and all praise King Champagne!

PROGRAM NOTES
by Jeanette Styron

On October 15, 1844, Johann Strauss, Jr. premiered as conductor and composer of his own orchestra of 24 musicians and struggled to establish himself as a consummate conductor and composer until his father's death in 1849. It was at this time that he combined his father's and his own orchestra and started on the path to become the "Waltz King." It is true that his father was the pioneer of dance music, certainly rhythmically, but it was Johann Strauss, Jr. who mastered the melody and verve that audiences adored.

Little did Johan Strauss, Sr. and Josef Lanner know that when they began a string trio in 1823 it would influence Strauss' eldest son, Johann, so profoundly. What began as a "small gig ensemble" grew to a full dance orchestra of 12 members and a full-time job for Lanner and Strauss in two short years. They took rural dances from many European countries and transformed them into lively, rhythmic dance numbers, and the Viennese people took notice.

All the while, the Strauss children grew up amidst constant rehearsals of the best dance music the world had to offer. No better musical education was to be had for young Johann in preparation for his eventual musical future. In 1841, he began attending the Polytechnic Institute in Vienna at the behest of his father. The education he received would have prepared him for the banking industry, but to the displeasure of his father, he did not finish at the institute. Johann decided to focus his attention on music diligently in secret with the assistance of his mother. If only Johann Sr. had known how his son adored him in every way.

The younger Johann's journey did not end at mastering the waltz, however; he continued on to the genre of operetta. During the 1850s and 1860s, musical directors in Vienna became uneasy with the obscene cost and multiple productions of Jacques Offenbach's French opera repertoire being performed in local theaters. These productions were very popular, but also very expensive to import. In order to defray costs, these various directors turned to Johann Strauss, Jr. to secure his services for their musical theatres. In 1871, the composer's work gained Viennese acclaim, and in 1874, the world was honored with Die Fledermaus (The Revenge of the Bat), the most famous operetta music history has ever known. Die Fledermaus continues to delight first-time opera goers as well as season-ticket holders, and with this said, the cast, crew, and directors hope it pleases you as well. Chacun à son goût!