New Year’s Celebrations

Toronto Operetta Theatre's Fledermaus

While still living in Germany going to the theatre on New Year’s Eve was always a much anticipated event. Die Fledermaus was the most popular offering, alternated with the occasional Merry Widow. And while we have been here too to the operetta on Sylvester, we now prefer to spend the evening with friends in the community, for the camaraderie cannot be beaten and is precious and priceless.

However, we did go to the premiere for Toronto Operetta Theatre’s Fledermaus on the 28^th of December. I also recall an earlier Fledermaus in 2004 with Mark Dubois as Alfred. His quite unforgettable lively performance could well have been a model for Keith Klassen in this year’s performance. Where Dubois brought a suave and seasoned elegance to the role Klassen shines with boyish charm and equally versatile tenor offerings that cause salves of laughter throughout the operetta.

Guillermo Silva Marin as Frosch delighted again as a non drunk yet adoring jailer with ambitions of becoming a tenor himself. This is a much more rewarding experience for the singer as well as a more entertaining one for the audience, especially since Silva Marin can sing as a tenor, and not just in a buffo part. He also signed responsible for adding all the witty extra dialogue throughout the evening and the impeccable stage direction, splendidly useful lighting design, set décor, a fabulous Art Deco inspired vision, and the dance sequences, which are very difficult to stage on such a small stage and thus always lack a bit of gusto.

Among the other performers especially Lucia Cesaroni, who we remember from Operas York’s production of Figaro, delighted with her lively style of acting her part as Adele the chambermaid, while singing with a voice full of promise for more wonderful things to come.

Laura Albino as Rosalinde, Eisenstein’s wife, was a bit stiff at first but soon found her feet firmly on the operetta boards and let her voice soar.

Adam Luther as Eisenstein cut a fine figure and was most enjoyable with a very pleasant tenor voice.

Gregory Finney delivered a properly bored and snobbish Prince Orlovsky, while Justin Ralph’s Dr. Blind, Mark Petracchi as prison warden, Lise Maher as Sally, and Arthur Wrights and Anton Mamine rounded out splendidly an ensemble together with a very professional vocal ensemble.

The 16 piece orchestra produced astoundingly well rounded Johann Strauss sounds under the baton of Derek Bate, causing many of us wanting to tap our feet. It truly is hard to sit still through all those familiar melodies. And we are also wondering if it would not be a good idea to allow the audience to bring their own wine or champagne respectively. They allow beer at the sports stadiums, don’t they?

Until next time

Sybille Forster-Rentmeister

Sybille reports as a German-Canadian about culture, arts, entertainment, community events from her unique perspective as an artist.

Hansa Celebration