Name: Die Fledermaus
Start: 2022-01-15T00:00:00.000Z
End: 2022-06-03T00:00:00.000Z
Location: Rostov State Musical Theatre

Organization

Stage director

Vyacheslav Kushchev

Svetlana Guseva

Conductor

Alexey Shakuro

Andrei Anikhanov

Lighting designer

Boris Mikhailov

Costume designer

Natalia Zemalindinova

Choreographer

Anna Kalachinskova

Chorus master

Elena Klinicheva

Susanna Takmazyan

Tatiana Kolpikova

Responsible accompanist

Svetlana Antonov

Stage Speech Tutor

Natalia Makarova

Soprano

Ekaterina Krasnova

Rosalinde

Baritone

Ilya Savonevsky

Doctor Falke

Tenor

Gleb Melanich

Alfred

Pavel Belousov

Frank

Singer

Gennady Verkhogliad

Prosecutor

Ekaterina Bezdolnaya

Lotta

Galina Yanpolskaya

Amalia

Mezzo-soprano

Olga Kalinina

Prince Orlofsky

Andrei Lohvinau

Ball Manager

Maxim Serdyukov

Doctor Blind

Spoken

Yuri Alekhin

Frosch

Valery Hraponov

Evgeny Kalinin

Forester

Head of electroacoustic department

Pavel Omelchenko

Kirill Chursin

Heinrich

Eduard Zakaryan

Rostov State Musical Theatre

Die Fledermaus -  (The Bat)

Rostov-on-Don

Russia

Chamber stage

Die Fledermaus Strauss II,J

Public

The Bat

Approved

"The Bat" by I. Strauss has long become an icon of style in its genre. For more than 140 years of its existence, it has repeatedly been staged on the stages of the most famous musical theaters in the world. Despite the fact that the work is already so many years old, it does not age and always gives great pleasure to the public. This performance is a holiday, bright, light, colorful and filled with humor. The music of this operetta is distinguished by a special atmosphere of joy and expectation of new emotions. Unobtrusive and light melodies give faith in true beauty and true happiness, to which the heart and mind of everyone are directed.
   "Die Fledermaus" was one of the first operettas to see the light of the stage on the stage of the new Rostov State Musical Theatre. Five years ago, the performance was removed from the repertoire. Since then, it has been possible to live a rare day so that someone does not remind, sigh, or even reproach that "The Bat" is not on the poster. But I didn't want to put it on. We live in a different time and in a different world. The absurdities about a shot hazel grouse, a Russian prince singing in a female voice, a swaying prison and the “famous” dog Emma ... will not adorn the repertoire of our theater, which today is already very respected in Russia and abroad. Of course, music is one of the pinnacles of the genre, a true gem in the author's crown, but the plot... For this reason, modern Russian theaters sometimes take the original text and sing in German. The result is usually disappointing.

The scales were tilted towards "FOR" by the editorial staff of the libretto, which was completed by maestro Andrey Anikhanov. In the version he proposed, the plot, without losing its anecdotal character, has become more coherent, individual situations no longer cause bewilderment. At the Artistic Council, we offered Andrei Anatolyevich to lead the work on a new version of The Bat as a musical director and director.

... If we convened a conference with the participation of spectators, critics, theater workers - artists, directors, conductors, and put the question “How to stage this operetta?” On the agenda, there would be exactly the same number of opinions as those present. Everyone has their own "Bat" in their imagination, in their memory. Most likely, the one that I saw in early youth, when I first met the charming idler Eisenstein, his charming wife Rosalind, the hilariously funny jailer, other participants in this cheerful story, with the unfadingly fresh and bewitchingly beautiful music of Johann Strauss.

Thus, bringing this performance to the audience's judgment, we, on the one hand, take a decisive step towards the wishes of the public and our own creative aspirations. On the other hand, we are taking a big risk. But you can be sure of one thing: the theater did its best to immerse you in the world of eternal youth, enchanting beauty, sparkling humor. And love, love, love!

As for the risk, then, as the classic said, the one who does not risk the most risks.

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