Organization

Admin

Novosibirsk State Academic Opera and Ballet Theater (NOVAT)

Dyrygent

Dyrygent (+1)

Evgeny Volynsky

Reżyseria

Reżyseria (+4)

Vyacheslav Starodubtsev

Scenografia

Scenografia (+6)

Vyacheslav Okunev

Kostiumy

Wideo

Vadim Dulenko

Reżyseria światła

Igor Yakushev

Choreograf

Anna Ryabukhina

Przygotowanie chóru

Przygotowanie chóru (+1)

Vyacheslav Podyelsky

Sergey Tenitilov

Dyrygent (+3)

Eldar Nagiev

Asystent Reżysera Sceny

Bas - baryton (+3)

Nikolai Natsybulin

NOVAT (Novosibirsk State Academic Opera and Ballet Theatre)

Tenor (+1)

Jury Komov

Eisenstein

Sopran (+1)

Olga Kolobova

Rozalinda

Baryton (+2)

Aleksey Shapovalov

Doktor Falke

Tenor

Vladimir Kuchin

Alfred

Daria Shuvalova

Adela

Bas (+3)

Alexey Laushkin

Frank

Mezzosopran (+4)

Ekaterina Marzoeva

Książę Orłowski

Tenor (+2)

Evgeniy Kozyrev

Blind

Sopran (+3)

Julia Nikiforova

Die Fledermaus is the finest Johann Strauss’ work in operetta genre, and the most perfect, classic example of this genre, where bright, festive emotions and romantic adventures are celebrated to captivating dance rhythms along with exposing hilarious shenanigans and issues of married life. The plot and the music are imbued with wit, irony and subtle humor; it captures from the first minutes and creates the holiday spirit.

Die Fledermaus is an entertaining performance close to the Italian opera buffa genre. Its music is filled with bright colors, endless melodic ingenuity and infused with Viennese waltz spirit.

The story told by the composer and librettists describes ageless married life issues, love and jealousy, joy and disappointment. The spicy situations the characters get themselves into, allow building up a captivating narrative. The unfaithful Eisenstein is going to fall back in love with his wife, redressed as a pretty stranger, and the loveable Rosalinde is about to learn new edges of female wisdom and charm to revive old feelings and save the family hearth.

Appealing to the light genre masterpiece (which is not easy to perform at all!) is a new, but not quite expected step for the Novosibirsk opera company. The score of Die Fledermaus, thoroughly and finely written by Strauss, deserves the opera stage, which was put to effect by numerous world theatres. It is for a good reason that the critics refer to it as “the most operatic of all operettas”.

The action takes place in Vienna suburbs in the last quarter of the XIX century. The plot is based on a true incident happened in Paris. French anecdote fit well into Austrian environment. Librettists change only the names in Meilhac and Halévy’s piece.

Filmy