AT OPENING NIGHT of Vancouver Opera’s 65th season, attendees were treated to a vibrant spectacle featuring David S. Pumpkins, an assortment of glamorous drag queens, and an adorable procession of little kitty cats—and that was just the delightful scene unfolding in the lobby prior to the evening’s performance. Local opera enthusiasts seemed to be fully aware of the theme for this season’s festivities: a joyful embrace of whimsy and revelry, where creativity knows no bounds and the promise of fun reigns supreme.
Timing Johann Strauss II’s farcical Die Fledermaus to align with the Halloween season was a brilliantly imaginative decision; much of this cherished operetta’s plot unfolds at an extravagant masquerade ball, masterfully hosted by the enigmatic Russian Prince, Orlofsky. In an exhilarating twist, this updated production, brilliantly set during the vibrant Swinging ’60s, transforms that ball into a dazzling Hollywood-themed extravaganza, where performers dazzle us dressed as iconic figures like Marilyn Monroe, James Bond, Spock, and a host of other classic screen characters. Additionally, a striking Batman costume takes the place of the more traditional fledermaus (German for bat) attire referenced by the title. Delighting in spotting all the clever pop-culture references woven throughout the wardrobe—courtesy of the Opéra de Québec—becomes an engaging pursuit in itself for the audience.
Not only has the setting been reimagined for contemporary audiences; the spoken dialogue has also been artfully adapted into English, receiving an invigorating update from the talented playwright and actor Mark Crawford. Practically, this requires every performer to not only showcase their vocal prowess while enchanting audiences with polkas, waltzes, and spirited group numbers in German but also possess compelling acting skills to bring the dazzling and sparkling script to life. It’s quite the challenge—one met with a confident and emphatic “just watch us,” skillfully guided by the assured direction of Ashlie Corcoran.
John Chest exhibits a rich, powerful baritone voice paired with effortless charm as Gabriel von Eisenstein, the wealthy Viennese aristocrat relishing one last extravagant night of celebration before facing a week-long incarceration for his transgression of assaulting a police officer. His wife, Rosalinde, portrayed by the talented soprano Lara Ciekiewicz, possesses an engaging conspiratorial presence, combined with a warm and soaring voice that captivates the audience. Meanwhile, tenor Owen McCausland shines as her old flame and would-be suitor Alfred—who curiously insists on being referred to as “Alfie”—masterfully delivers his vocal passages, enthusiastically conveying charged lines like, “Sexual liberation, baby!” with unapologetic abandon. The trouser role of Orlofsky is brought to life by mezzo-soprano Mireille Lebel, who exudes a languid, detached glamour that perfectly fits the character.
If there’s a standout amidst this lavish display of talent, it’s the remarkable soprano Claire de Sévigné as Adele, the somewhat disenchanted maid of Rosalinde and Eisenstein (and fervently aspiring actress), who showcases a dazzling coloratura and an irresistible stage presence. At the ball, she captivates in a stunning pink gown adorned with shimmering diamonds à la Gentlemen Prefer Blondes, brilliantly nailing the iconic laughing aria in Act II while executing choreography directly inspired by the luminous Marilyn Monroe film.
Throughout this enchanting performance, music director Jacques Lacombe ensures that the music flows exuberantly, with the ensemble of musicians maintaining the dotted rhythms crisp and crisp—a feat not always easily accomplished. During the lively overture to Act III, he leaned above the pit toward the audience, playfully encouraging them to clap along, further enhancing the spirited atmosphere of the evening.
