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Die Fledermausby Johann Strauss II
Libretto by J Barbier & M Carréby arrangement with Chester Music Limited trading as
G Schirmer, on behalf of G. Schirmer Inc
Queen Victoria Hall, OundleThursday-Saturday 25-27th October 2018
at 7.30 pm
The Key Studio, PeterboroughSunday 28th October 2018
at 4 pm
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Welcome to our October 2018 production!
Peterborough Opera invites you to have a ball with a bat!
Featuring fabulous music by Johann Strauss II, including the famous‘Champagne’ and ‘Laughing’ songs, Die Fledermaus, now held tobe the quintessential Viennese operetta, premiered in 1874 to nospecial enthusiasm. Yet within a few years it gained enormouspopularity and by the end of the century achieved the internationalsuccess it has enjoyed ever since. Strauss treats the originalsatirical French comedy with a lighter and sweeter touch thatwould come to define Vienna’s “Golden Age” operetta. Endearingpranks drive the action forward with a cast of lovable schemers.Our production has a reduced orchestration for string quartet andpiano.
Strauss’ light-hearted opera tells the story of mistaken identities,flirtation and mischief at a nobleman’s party. The production isdirected energetically by Jan Haylock, with our inspiring Dr KateWishart as Musical Director. Thank you to all our cast, musiciansand ‘behind the scenes’ members who have put in many hours ofwork to achieve so much!
We invite you to sit back and enjoy the party!
Clive Morton
Chairman, Peterborough Opera
“What a joy to be here on this marvellous occasion!”
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Die �Fledermaus - �Synopsis
Act �1Dr �Falke �is �out �to �get �his �own �back �on �his �old �friend �Gabriel �Eisenstein, �who�played �a �trick �on �him �after a �fancy �dress �ball �a �few �years �ago. �
�Eisenstein �has �been �sentenced �to �5 �days �in �prison, �but �has �managed �to �get �it�extended �to �8 �days, �for �which �he �blames �his �stammering �lawyer, �Dr �Blind.�Eisenstein’s �wife, �Rosalinda, �is �enjoying �the �attentions �of �her �old �flame, �Alfred,�a �tenor. �
The �Eisenstein’s �maid �Adele �is �trying �to �get �the �night �off �to �go �to �a �party, �and�using �a �relative’s �i llness �as �an �excuse. �
Dr �Falke �turns �up �just �before �Eisenstein �leaves �for �jail, �and �persuades �him �to�attend �Prince �Orlofsky’s �party �before �he �goes �to �the �prison �first �thing �in �the�morning. �He �doesn’t �take �much �persuading, �having �heard �of �the �beautiful�ballerinas �who �are �also �attending. �He �takes �tender leave �of �his �wife �before�leaving �for �‘prison’ �in �full �evening �dress! �
Dr �Falke �has �already �told �Rosalinda �about �the �party, �and �she �goes �too �‐‐ in�d isguise, �as �does �the �Prison �Governor, �Frank. �But �before �he �goes �there �he�arrives �at �the �Eisenstein’s �house �to �take �charge �of �the �prisoner. �He �believes�Alfred, �who �is �there �sipping �wine, �clad �in �a dressing �gown, �is �Eisenstein �and�hauls �him �off �instead! �
Interval (20 minutes)
Act �2The �party �is �a �riot �of �dancing, �singing, �and �drinking �champagne, although �the�Prince �is �utterly �bored. �Dr �Falke �promises �to �make �him �laugh. �
Adele �is �there �in �her �mistress’s �best �dress. �Eisenstein �recognises �Adele, but�fails �to �recognise �his �own �wife �with �whom �he �sets �up �a � flirtation. �She �vows�revenge! �
Act �3 �The �action �ends �at �the �prison, �where �Frosch �the �drunken �jailer presides. �Adele�and �her �sister �Ida �arrive �to �find �that �Frank �is �not �after �all �a �French �Chevalier,�and �Alfred �and �Rosalinda �confront �their �problem �with �Dr �Blind, �who �turns �out�to �be �Eisenstein �in �disguise. �At �the �end �all �is forgiven and laughter prevails.
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Cast �(in �order �of �appearance)
Alfred Adrian �Wall �Adele Anna �MurgatroydRosalinda Liz �Williams �Gabriel �Eisenstein Martin �Muir �Dr �Blind Laurence �Lewis �Dr �Falke Michael �Hammond �Frank Glyn �Jones �Ida Helen �Reece �Ivan John �TorrPrince �Orlofsky Julie �van �Haperen �Frosch John �Torr
Chorus: �Evie Ablett, Carolyn �Browse, �Karen Davies*, Lyndsey Evans,Diane �Harcourt, �Nickie� Kenning, �Helen Reece, �Audrey�Springford, �Alex �Steel, �Ann �WilliamsJohn �Attwell, Phil Hammersley, ��Laurence �Lewis, Clive �Morton,Adrian �Wall
* understudy to Adele
“Here’s health to His Highness King Champagne!”
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Musical �Director - Kate Wishart �Our musical director Kate Wishart started her professional lifeas an orchestral timpanist, joining the Academy of the BBC atage 19. Before deciding to become a doctor she worked withseveral opera companies including Phoenix Opera, D’OylyCarte and Kent Opera, then directed by Roger Norrington.She has always loved opera, having first played in the orchestraat the Birmingham School of Music’s annual operaperformances from age 14 to 16. At medical school she took upthe baton to conduct the music society, including
performances of Ruddigore and Pirates of Penzance, Carmina Burana andVivaldi’s Gloria. More recently Kate was the musical director for Oundle G&SPlayers, and took the role for Peterborough G&S for one year to fill their MD’ssabbatical. Kate has been repetiteur for Chelsea Opera Group, and recentlyThrapston Opera as well as Peterborough Opera. She retired from her work inmedical education in 2016.
Johann �Strauss �I I �(1825‐‐1899) �had �to �learn �the�violin �in �secret �as �a �child, �as �his �father �wanted �him�to �be �a �banker. �A �beating �did �not �deter �him�however, �and �he �became �highly �successful �as �a�composer �of �waltzes �and �polkas �in �Vienna. �Among�his �most �famous �works �are �The �Blue �Danube, �The�Emperor �Waltz �and �the �Tritsch‐‐tratsch �Polka. �Die �Fledermaus �is �his �best �loved �operetta. �
Producer - Jan HaylockStrauss’ Die Fledermaus is the fourth opera Jan has producedand the second for Peterborough Opera, following on fromCosi Fan Tutte in 2016. Having joined Thrapston Plaza Opera in2014 she sang in their productions of Die Fledermaus (chorus),Madam Butterfly (Kate Pinkerton) and La Vie Parisienne(Pauline), producing Eugene Onegin in 2017 and La Traviataearlier this year.Jan studied at the Royal Academy of Music and the European
Opera Centre, Belgium. Joining Central Festival Opera in the late 1980’s andbased in Northampton, she sang both in the chorus and as a principal for manyyears, gaining much experience whilst working with professional producers and musical directors. Her repertoire included The Magic Flute (First andSecond Lady), Orpheus in the Underworld (Venus), The Beggar’s Opera (PollyPeachum), The Tales of Hoffmann (Stella), Gianni Schicchi (La Ciesca), Macbeth(The Dama), Song of Fortunio (Valentine), La Traviata (Annina), The Marriage ofFigaro (Second Bridesmaid), Cosi Fan Tutte, Carmen, La Boheme, Tosca, DieFledermaus, Dido and Aeneas.
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Liz �Williams � has �frequently �appeared � in � concerts, �oratorios�and �recitals,� predominantly �as �a �mezzo‐‐soprano. Stage �roles�include �Carmen, �Azucena �(Il �Trovatore), Amneris (Aida),�Santuzza � (Cavalleria Rusticana), �Musetta� (La � Bohème), MrsLovett (Sweeney �Todd) �and �most �recently �Amelia �(A �Masked�Ball) �and �the �Mother �in �Amahl �and �the �Night �Visitors�(Menotti). �She �has �a lso �d irected �Madam �Butterfly, �D ie�F ledermaus an�d �La �Vie �Parisienne �for �Thrapston � Plaza � Opera.� Most � recently � she � appeared � for � Peterborough � Opera � as
�Mercutio �in �Romeo �and �Juliet. �
Martin Muir gained an Honours B.Mus degree in Voice fromthe ANU in Australia and has sung numerous roles for amateurLondon companies, Peterborough Opera and Thrapston PlazaOpera. Recent roles include Eisenstein (Die Fledermaus),Sharpless (Madam Butterfly), Guglielmo (Cosi fan Tutte),Essex (Merrie England), Renato (A Masked Ball), FriarLaurence in Romeo & Juliet and the Judge in Sweeney Todd.He is a Biomedical Scientist by profession, a qualified youthfootball coach and a Trustee of a Uganda based charity,
Friends of North Kigezi Diocese.
Anna Murgatroyd lives in Cambridge and has performed withmany societies in the area. Her recent roles have includedFrasquita (Carmen) and 1st Lady (Magic Flute) with CommediaProductions, and Pamina (Magic Flute) with CambridgeOperatic Society. She has played many of the soprano G&Sroles and she also loves performing in musicals. Her favouriteoperatic role is Susanna in The Marriage of Figaro and her mostchallenging role was Magnolia in Showboat. She enjoyed takingpart in Sweeney Todd with CAOS at Cambridge Arts Theatre andis very happy to return to Peterborough Opera after playing
Oscar in last year’s A Masked Ball.Anna had lessons with Sandra Dugdale after completing Vocal Studies at theRoyal Welsh College of Music and Drama and now studies with Nicky-Jane Kemp.
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Julie van Haperen has performed as a keen amateur overmany years in numerous concerts and productions rangingfrom pantomimes and comedic plays to choral societyconcerts and grand opera. Before moving up to the EastMidlands in 2016, Julie was a member of Kennet Opera inNewbury for 6 years, during which time she performed theroles of Clorinda ( La Cenerentola), Anna (Nabucco) and
understudied the role of Musetta (La B ohème), as well as being an enthusiasticchorus member. Since joining Peterborough Opera, she has performed asAmelia’s Servant and chorus member in last year’s production of Verdi’s U nB allo in Maschera, and more recently, Annina (La Traviata) for Thrapston PlazaOpera. Julie is thrilled to be performing the role of Prince Orlofsky and promisesto deliver an unforgettable party!
Michael Hammond has sung Lenski in Eugene Onegin, Gastonin La Traviata (Thrapston Plaza Opera), Walter Wilkins inMerrie England and Sylvano in A Masked Ball (PeterboroughOpera). He has sung many roles in productions of Gilbert andSullivan, and has just performed Nanki - Poo in The Mikado forPeterborough G&S Players on tour.
Laurence Lewis joined Peterborough Opera in 1991 to sing inthe chorus for Verdi's Aida. He has sung in most of thesubsequent productions and taken many supporting roles,including Morales in Carmen (2008 & 2015).In the 2004 production of Die Fledermaus he played the part ofAlfred and appeared as Pirelli in Sweeney Todd (2003).Laurence has also had a long career singing Gilbert and Sullivanstarting in Liverpool in 1966. He currently sings with StamfordG & S Players where he has performed most of the tenor leads,including the Duke in Patience only two weeks ago.
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Adrian Wall began his musical training as a chorister atRochester Cathedral and has continued his involvement withchoral music ever since, both while at university in the NorthEast, where he also performed in several Gilbert & Sullivanproductions, and more recently with a variety of Peterboroughchoirs.Since joining Peterborough Opera, Adrian has taken a numberof principal roles, including Don Basilio (Marriage of Figaro),Malcolm (Macbeth), El Remendado (Carmen), Schaunard (LaBohème), Camille (Merry Widow), Gherardo (Gianni Schicchi)
and Ferrando (Così fan Tutte).
Glyn Jones has a masters degree in overacting. He haspreviously offended egyptologists with his interpretation ofthe King of Egypt in Aida, offended the French and the Swisstogether as Bobinet in a production of La Vie Parisienne andinsulted the legal profession as Herr Doctor Blind in an earlierproduction of Die Fledermaus. This evening he is expected tooffend only correctional facility operatives (and the French,again.)
John Torr This is John’s first part with Peterborough Opera andhis second non-singing role. Previously he has played 35different characters in the Savoy Operettas and eight in othermusicals. Since ‘retiring’ as a romantic lead he has taken oncomic and ‘patter’ roles with Trent Opera, Peterborough,Derby and West Norfolk G&S societies and PODS. He performsregularly at the International G&S festival, was part of Derby’swinning Sorcerer and Pirates and has found new interests inconcert work and ‘Bus Pass Opera’!
Helen Reece studied music at York University. She is a pianist,singer, composer, conductor and an experienced teacher.Helen made her debut with Peterborough Opera in the choruslast year for A Masked Ball, followed by Romeo and Julietearlier this year. She is delighted to be taking the role of Ida inthis production. Helen enjoys singing in Cathedrals in the UKand Europe with the Peterborough Chamber Choir andseveral other choirs who sing the services in these wonderful
venues. In her spare time, Helen enjoys tai chi, yoga, swimming and ballroomdancing.
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Acknowledgements
Stage �Manager Tony �HaylockProperties Tony �and �Jan �HaylockSet �design � Colin �Ray �Lighting � Mark �Sharman �Costumes Violet �Truelove �Wardrobe, �Boston �Costume �coordinator Carolyn �Browse �Make �up Andrew �Spurrell with Jenny Ray & Jane GrantRepetiteurs Phil �Bass,� Craig TorrProgramme Diana �Awdry �Website John �and �Ann‐‐Marie �Walsh �Publicity Lyndsey �EvansFront �of �House Diane Harcourt (co-ordinator) Colin Ray
Additional thanks to all helpers, seen & unseen, not listed above.
Musicians �
Violin �I Liz �Taylor �Violin �I I Roger �Loose �Viola Karen �Hubbard �Cello Simon �Hubbard �Piano Phil �Bass �
Die �Fledermaus �arrangement �for �string �quartet �and �piano�by �Kate �Wishart. �
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Peterborough �Opera �is �grateful �for �all �donations� made �by �our �Patrons.A �Patron �makes �a �minimum �donation �of �£10 �each �year �which �if
Gift �Aided �enables �the �Company �to �claim �another �£2.50 �tax �refund.Details �from �[email protected]
Honorary �Patrons �
Clive �Fairbairn, �Dr �Roy �Tipping, �John �Walmsley
Ms �S �BenjaminsMr �& �Mrs �R �E �BridgesMr �& �Mrs �P �BrowseMr �& �Mrs �P �A �BurchellMrs �S �CochraneMr �I �FergusonMr �& �Mrs �D �FisherMr �& �Mrs �P �HazellMr �& �Mrs �M �Hoskin �Mr �M �KennellyMrs �S �Mackay �MeakinMr �B �Murphy
Miss �M �MurphyMiss �D �A �NicholsMiss �V �M �OrrMiss �K �Osborne �Mr �& �Mrs �C �R �PendrillMr �& �Mrs �R �PopeMrs �J �RollingsMr �& �Mrs �M �SaundersMr �& �Mrs �G �SimonsMr �& �Mrs �A �P �SpurrellMr �W �J �SwannMr �D �Wheeler
Patrons �List correct at time of going to print
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And �in �our �50th �anniversary �year: �Verdi’s requiem
with �City �of �Peterborough �Symphony �Orchestra �and ��Take �Note. �
Saturday 30th �March �2019, �7.30pmat �Queen �Katharine �Academy, �Peterborough �
FUTURE PERFORMANCE
Carl� Menotti’s �Amahl � and � the � Night � Visitors �
St � Peter’s � Church, � Oundle� Saturday � 5th � January � 2019 at � 6pm �
St � John � the � Bapti s t � Church, � Peterborough Sunday � 6thJanuary � 2019 � at � 6pm
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Join � Us
The � health � benefits � of � singing, � and � especially � singing � with � others, � are � well�researched � and � documented. � Singing � uses � the � brain � and � the � body, � and�improves � breathing, � posture � and � muscle � tone. � It � is � believed � to � release�endorphins � that � help � pain � relief, � and � there � is � some � evidence � that � it � is�beneficial �for �the �immune �system �as �well. �
Learning � new � music � is � good � for � the � memory, � and � singing � produces � a � � sense�of �happiness � �and �wellbeing. �
We � meet � weekly � on � a � Friday � evening � at � Folksworth � Village � Hall, � and � we�always �welcome �new �singers, �of �any �voice. �You �will �only �audition �if �you �wish�to �sing �a �principal �role �in �an �opera. � �
We � do � occasional � concerts, � as � well � as � operas, � and � rehearse � throughout � theyear. �We �have �social �events �too, �and �most �importantly �lots �of �fun! �
We � also � need � non‐‐singers � to � help � with � productions � and � concerts � –�backstage � and � front � of � house � helpers. � You � can � also � support � us � as � a � Patron�for �a �small �donation. �
You �can �find �out �more �on �our �website: www.peterboroughopera.co.uk
Or �contact �us �at: �[email protected]
