Controversial New Production of “The bat” Divides Vienna Opera Scene
A new staging of Johann Strauss II’s beloved operetta, “The Bat,” at the Theater an der Wien has sparked debate, with critics questioning a provocative interpretation that some say undermines the work’s musical strength. The production, coinciding with the composer’s 200th birthday, has been described as both visually stunning and musically chaotic, raising concerns about the treatment of operetta as a serious art form.
The performance began with a musical journey through operatic history, featuring excerpts from beethoven’s “Fidelio,” Wagner’s “Tristan and Isolde,” Verdi’s “Rigoletto” and “Traviata,” alongside works by Puccini, lehár, and Millöcker. A segment from the musical “Elisabeth,” which premiered at the Theater an der Wien, was also included, alongside another performance of “Fidelio.” Though, the focus quickly shifted to a reimagining of “The Bat” that has proven deeply divisive.
Director Stefan herheim’s approach has been characterized as “cheeky and disrespectful,” according to one observer. while the staging is visually arresting and boasts an “enormous scenic pace,” the production’s conceptual framework has drawn criticism. “But ‘The Bat’ is so strong as a work,musically so huge that it does not need this greasing,even repulses,” a source stated. “It almost looks like musical diarrhea what you here here.”
Did you know?-The production controversially features Nazis on stage,with Dr. Falke portrayed as a high-ranking Nazi official.
The production’s most controversial element is its incorporation of past and political imagery. Nazis appear on stage, with Dr. Falke portrayed as a high-ranking Nazi official, complete with a bat-emblazoned armband.The character of the frog is elevated to a central, yet ultimately devalued, role, with actor Alexander Strobele also appearing as Emperor Franz Joseph. The stage itself transforms into a prison, reflecting a journey through the theater’s performance history.
Despite the staging’s ambition, the musical execution has been faulted.The Viennese Symphonists, under the baton of Petr Popelka, where described as sounding “tough” and “lengthy,” failing to fully capture the composer’s ingenuity. The orchestra’s performance was characterized by a disconnect between the energetic stage action and a restrained orchestral approach.
The cast received mixed reviews. David Fischer as Alfred was singled out for praise, delivering “a beatiful, good height” performance. Aline Wunderlin demonstrated notable vocal range,while Thomas Blondelle was considered a “solid” Einstein. However, other performances, including those of Hulkar Sabirova as Rosalinde and Leon Košavic as Dr.Falke/Hitler, were described as lacking in expression or nuance.
The production echoes a similarly controversial staging of “The Bat” at the Salzburg Festival in 2001, directed by Hans Neuenfels, which ignited a major scandal. While this new production may not reach the same level of notoriety, the reaction from the audience – “matt applause and moderate Buhs” – suggests a lukewarm reception.
Pro tip:-This isn’t the first time “The Bat” has sparked controversy; a 2001 production at the Salzburg Festival also caused a scandal.
The production’s shortcomings have lead to concerns that it reinforces the perception of operetta as an outdated and unserious genre. “How nice it would have been if the premiere theater not only dealt with this operetta with itself, but musically and singer,” one critic lamented. “If it is said again that this genre is so outdated that you can no longer take it seriously, then this evening has contributed a bit again.”
