Although the works of German composer Richard Strauss (1864-1949) rank among my favorites, it was unfair to give him credit last week for Die Fledermaus (“The Bat”), a comic operetta by Viennese composer Johann Strauss Jr. (1825-1899, also called "the Waltz King"), which premiered in 1874. It would be nice to say the intention was to ascertain your attentiveness, and to keep you on the edge of your seat, which works because the University of Southern Maine’s production does exactly that. Let’s go with it.
The Southern Maine Symphony Orchestra and USM’s Opera Workshop present another performance of this musical tale of a friend’s vengeance for a practical joke gone awry (February 17), directed by Ellen Chickering and conducted by Robert Lehmann. Dr. Falke, played by baritone Daniel Cyr, seeks to avenge the pranking ways of George von Eisenstein, played by tenor John Coons. Eisenstein at a previous costume party had made use of Falke’s bat costume as he was passed out, to run amok in his name. Falke invites him to a masquerade hosted by Russian Prince Orlovsky, played by Alexandra Dietrich, in a staged mix-up that finds Eisenstein courting both his chambermaid Adele, played by Lauren Onsrud, and his own wife in disguise, Rosalinda, played by soprano Sarah Mawn.
Add to the muddle Alfredo, an amorous tenor and former lover of Rosalinda played by George Eisenhauer, Eisenstein’s attorney Dr. Blind played by tenor Christopher Sand, and the Warden of the prison Frank played by baritone Joshua Miller. These characters provide situations that jumble the plot further. Alfredo, caught wooing and serenading Rosalinda, is persuaded by Rosalinda to pose as Eisenstein when Frank comes to take her husband to prison for an eight-day sentence for a civil offense.
The performance, at USM’s Corthell Hall, is executed masterfully, especially for a collegiate production. The high caliber of vocalists coming out of USM’s School of Music is impressive. Cyr projects well as a narrator, Coons’s voice can be sly to fit the part, and Eisenhauer sings as warmly and richly as any tenor gets. Graduate student Mawn’s dark, wholesome voice portrays the world as her oyster — look for more of her in the future, in professional settings. Interestingly, while most singers were at some point (albeit briefly) overpowered by the orchestra, it is Chickering’s students, Mawn and Onsrud, who were articulate and audible at all times.
Onsrud performs with an excellent handle of dynamics and vibrato, well matching the charmingly frivolous role of Adele. Her talents culminate when Adele sings to Frank (whom she believes is a theatrical agent) that she was “born to be on the stage,” revealing her vocal range effortlessly, forcefully yet delightfully, and with a strength uncompromising to the sweetness of tone. Born for the stage, indeed.
The orchestra suffered ongoing disputes amongst the upper strings in regards to pitch and note duration, most noticeably towards the beginning, but the winds compensated decisively and with confidence. The characteristic abstruse and vague qualities of the strings however, did jovially suit accompaniment for the drunken jailer in the third act.
As for the Strausses, the Portland Symphony Orchestra perform on February 20 the Double Concerto for Violin and Cello by Johannes Brahms — a friend of Johann’s, and a major influence of Richard’s. Richard’s Duett Concertino for Clarinet, Bassoon, Harp and String, is performed on February 23, in Corthell Hall by the Portland Chamber Orchestra.
