LA CHAUVE SOURIS - B.S.O. MUNICH - 10 01 26

 La chronique d'Eléonore :

     Bayerische Staatsoper - 10 01 26

Die Fledermaus

I SIMPLY ADORED FANTASTIC EISENSTEIN

His "joie de vivre" closely associated with the joy of acting

My third performance.

Rolando had partners in the three performances as follows, the unique difference being :

Diana Damrau - Mrs. Eisenstein

Pavol Breslik - Alfredo 

Marton Winkler - prison director

John Holiday - Prince Orlovsky 

Konstantin Krimmel - dr. Falke

Mirjam Mesak - Adele

Miriam Neumaier - Ida

Kevin Conners - Dr. Blind

Max Pollak - Frog1

Conductor - Nicholas Carter

Orchestra and Chorus of the Bayerische Staatsoper

All three were the best, but this last one was somehow more than the best.

At every moment, the ambiance was at its highest, with an excellent audience who immediately responded to the singers' great jokes, enjoying their spontaneity that brought even more vitality to the performance. Rolando's words : "La cucaracha" were received with great laughter. 

The staging offered all elements of a great situation comedy.

Humor came from a brilliant interaction of circumstances and personalities.

This time we had the marvellous Diana Damrau, with her well-known wonderful voice and sparkling sense of humor.

The orchestra and the chorus, under the direction of conductor Nicholas Carter, gave their best for this superb show!

And Rolando!!! 

He was the absolute center of the whole evening, the whole performance with his immensely attractive singing and acting, and a genuine playing fully embodying the character, completely immersing in his role. 

After the elegant tailcoat, the costume designer gave really funny costumes to Eisenstein : huge feathers on his headdress, shiny penties, but also brown coat, brown hat, glasses and long, checkered socks. 

A truly seductive and elegant outfit  : to the greatest delight of the audience who greeted all these details with enthusiastic joy.    

In the heartwarming melodies, THE VOICE was at its most beautiful, in its most caressing.

A deeply affecting "Brüderlein, Schwesterlein" conveying a sense of profound emotion.

Fabulous vocal beauty in all the other harmonious melodies sung by Eisenstein in duet, ensembles and during the final :

"Komm mit mir zum Souper"

"Dieser Anstand so manierlich"

"Ach, meine Herr'n und Damen"

"Im Feuerstrom der Reben"

At the end, the spectators sang together with the singers, and expressed their limitless enthusiastic appreciation and praise by a strong and long applause..

KÖSZÖNÖM, ROLANDO!

Eléonore

    Les photos partagées par Pavol Breslik    :     

                                                                 

                                                                                      

Les vidéos de Klari : 

                                               

 

          

La photo des artistes - via Nicholas Carter (conductor) - Insta .

                                                                 

                                                

                                   

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LA CHAUVE SOURIS - J. STRAUSS - B.S.O. MUNICH - CRITIQUE

 Une très belle critique détaillée : 

Photo : Geoffroy Schied

https://munichandco.blogspot.com/2026/01/die-fledermaus-la-bayerische-staatsoper.html?m=1&sfnsn=mo

                                              ****

LA CHAUVE SOURIS - B.S.O. MUNICH : 6 01 26 (2)

  La chronique d'Eléonore : 

Bayerische Staatsoper - 06 01 26

GABRIELITO EISENSTEIN IN TAILCOAT ON THE CHANDELIER

"Ich bin nicht ich"

My second evening - an even stronger, incredibly powerful performance with a very fresh atmosphere.

Magic of live shows - the complete, captivating experience is always different. 

Rolando's masterful delivery in German deeply impresses me every time!

The amazingly fantastic VOICE with all its expressive, emotional beauties gave special moments in "Brüderlein, Schwesterlein". The voice floated over the spectators with its ethereal sound, moving smoothly and gently above the auditorium. The magic itself! 

Even after more than fifteen years, the unbelievable, unique timbre remains for me a novelty and the purest delight.

The most difficult, if not impossible "job" is to write about what Rolando did in terms of dancing and, in general, of stage movement! 

As always, an extraordinary stage presence from his very first appearance during the overture with hilarious choreography in this.cheerful scene.

But the breathtaking moments came in the ball scene at Prince Orlofsky's palace. Drunk and elegant, comical and harmonic, Eisenstein made an extremely complicated and perfectly performed sequence of movements, with all the characteristics of the best classical ballet, creating a riveting experience through movement. 

After a last warmest greeting at the stage door, Rolando got into the car to leave for Salzburg.

KÖSZÖNÖM, ROLANDO! 

Eléonore

                                            

Les vidéos d'Eléonore : 

                                           

                                                                          

                                               

LA CHAUVE SOURIS - B.S.O. MUNICH - 6 01 26 (1)

La chronique d'Antonella : 

Un altro splendido Fledermaus a Monaco di Baviera

La sera del 6 gennaio terzo Fledermaus del ciclo che vede Rolando protagonista nei panni di Gabriel von Eisenstein. Come la sera del 3, lo spettacolo, allegro, coloratissimo, pieno di sorprese e mai noioso, ha tenuto desta l’attenzione del pubblico e ha riscosso un grande successo. 

Non è facile, in un’operetta così scoppiettante per musica e copione, mantenere la giusta misura fra divertimento e resa artistica, fra buon gusto e rischio di qualche caduta nel kitsch troppo forzato. Questa messa in scena ci riesce nel complesso abbastanza bene, tranne forse in alcuni momenti del terzo atto, ove le performances del direttore del carcere e dei secondini appaiono alquanto prolungate ed eccessive. Ma la riuscita e la godibilità nel complesso sono ottime. Ciò avviene anche grazie al calarsi perfettamente di ogni interprete nel suo ruolo. Bisogna ribadire che gli artisti sono, nessuno  escluso, bravi e simpatici.

 Fra tutti spicca Rolando, brillantissimo, che qui dispiega una verve anche maggiore del solito,  e che sta riscuotendo con questo Fledermaus un vero e pieno successo personale. Grandi e prolungati applausi nel finale soprattutto per lui, ma anche per tutti gli altri interpreti. Un ottimo modo per iniziare l’anno all’insegna della bella musica!

Antonella 

Les photos de Geoffroy Schied : 

                                       

                                                     

                                                        

                                               

                                                     

                                                 

                                     
                                                                                                          

                       

                                 

LA CHAUVE SOURIS -B.S.O. MUNICH - 3 01 26

    La chronique d'Antonella :  

  

                 Fuochi d’artificio al Fledermaus di Monaco di Baviera

Tutti i fans che pensavano di avere visto Rolando nella sua versione più simpatica e scatenata non avevano ancora visto nulla. Questo Fledermaus ci offre un Rolando davvero… pirotecnico.
Il nostro protagonista e’ quasi sempre in scena, fin dall’ouverture dove il povero “Gabrielito” e’ vittima di un incubo in cui lo attorniano graziosi e danzanti pipistrelli. Ma il bello deve ancora venire. In tre atti coloratissimi, divertenti e pieni di verve, Rolando, in ottima forma vocale, pieno di energia e del tutto a suo agio in un ruolo che gli si attaglia perfettamente, e’ il vero mattatore sulla scena. Il culmine viene raggiunto verso la fine del secondo atto, quando Rolando si esibisce in modo esilarante in una danza forsennata nella quale imita da clown provetto le figure  e i movimenti dei ballerini. Bravissimo e promosso con 10 e lode! Bravi e simpatici anche gli altri, con una menzione speciale per il soprano Miriam Mesak che interpreta Adele e il controtenore John Holiday nel ruolo di Orlofski.
Un Fledermaus senz’altro godibile e molto divertente, ricompensato da giusti e meritati applausi, che si raccomanda a tutti di vedere dal vivo.

Antonella

Les vidéos de Catherine : 

                                                 

                                                          

                                                               

                                                             

                                            
                                       

                                                   

Les photos de Geoffroy Schied : 

                                                         

                                                           

                                                           

                                                                     

                                                                 

                                                         

                                                                                                   

                                           

 

                                                          

 

                                                                                                    

 

                                                                                         

 

                                                 

   

   

                                           

 

                                                                                                               

LA CHAUVE SOURIS - B.S.O. MUNICH - 31 12 25 - V I D E O (SALUTS)

 La video Y.T. du final endiablé du 31 12 25 : 

https://www.youtube.com/watch?v=TfaZUxiib30&list=RDTfaZUxiib30&start_radio=1

                                              

                                                  

Photo :  Pavol Breslik 

CRITIQUE DE LA CHAUVE SOURIS - B.S.O. MUNICH : 31 12 25

Photo : Geoffroy Schied

TRADUCTION DE LA CRITIQUE PAR ELEONORE : 

WONDERFUL, FANTASTIC CRITICS

Credit : For the original German article by Klaus Kalchschmid

see :

Süddeutsche Zeitung, 01.01.26

Bayerische Staatsoper

The star tenor thrills in the Strauss operetta with tremendous joie de vivre, and the rest of the ensemble also makes the last evening of the year at the National Theatre a celebration.

"With his neatly trimmed beard and nightcap pulled low over his face, he is initially almost unrecognizable: Rolando Villazón as Gabriel von Eisenstein in Barrie Kosky's production of Johann Strauss's "Die Fledermaus" at the National Theatre. For during the overture, the Mexican tenor is surrounded in his large pink double bed by a dozen virtuoso dancing bats (choreography: Otto Pichler), but is not yet allowed to sing a note.

When he does so on this New Year's Eve, we hear his distinctive timbre, which is particularly effective in the low tenor part, often sung by baritones. And we see his tremendous joie de vivre, which he can showcase beautifully in this operetta. For example, in the duet with his friend Dr. Falke, who invites him to Prince Orlofsky's ball – portrayed by the young Konstantin Krimmel with a noble, refined baritone. Here, Villazón shines as a singer and actor, just as he does in the second act when, as Orlofsky's guest, he dances with the ballet. And there, he is cheated out of his "little lady" by his masked wife, Rosalinde, who then becomes the evidence against him in the third act, revealing his infidelity.

For instance, in the second act, Villazón is robbed of his "little lady," which then becomes the corpus delicti for his infidelity. Alongside Villazón, the wonderful Rachel Willis-Sørensen ensures a truly festive New Year's Eve atmosphere. As Rosalinde, she captivates with her rich, beautiful soprano and secure high notes, and delivers a fiery czardas as a supposed Hungarian countess. Pavol Breslik is also magnificent as her former lover, Alfred. His singing still makes her weak at the knees. The Slovakian tenor wonderfully confirms this with a delicate brilliance in his voice and great enthusiasm for the role. From "Nessun dorma" to "Una furtiva lagrima" to "O, namenlose Freude," he briefly sings half a dozen tenor hits, nearly driving Rosalinde wild.

Director Barrie Kosky has transformed the famous Viennese operetta, which, along with Franz Lehár's "The Merry Widow," is one of only two to have graced the stages of major opera houses, into a veritable revue operetta. He lets the second act glide by in a trance-like fashion, as Prince Orlofsky sings his "I love to invite guests" amidst a troupe of dancers in glittering costumes, a feat John Holiday masterfully accomplishes with his excellent countertenor.

Rosalinde's Czardas is also accompanied by an agile troupe of dancers, lending it a special touch. This is complemented by the multiplication of the bailiff Frosch, who appears here in six different forms, dominated by Max Pollak, who delivers a wonderful tap dance plus body percussion, encouraging the audience to clap along. Later, during the encore of the Radetzky March, the audience is transported to the Vienna Philharmonic's New Year's Concert, where the conductor also prompts the audience to clap along in a finely tuned manner.

... This "frog with five tadpoles" not least enriches Adele's couplet "I'm playing the innocent country girl" in the third act. Mirjam Mesak strikes the same smooth, lyrical soubrette tone as she did in "Mein Herr Marquis" in the second act. Kevin Conners, as the stuttering lawyer Dr. Blind, is one of the few singers who have not been recast. However, all of them perform on the same level this evening as the premiere ensemble, including Diana Damrau and Georg Nigl as the Eisenstein couple.

One is almost blinded by the sexily costumed and masked Vienna State Opera Chorus (costumes: Klaus Bruns), who clearly revel in the garish exuberance and sing a magical "Duidu."

Barrie Kosky wasn't trying to make fun of the drunken bailiff Frosch, but he does literally strip prison director Frank (Martin Winkler) naked. Kosky has the Austrian bass-baritone appear almost nude and present all sorts of slapstick, such as keys being fished out of his thong or brushing his teeth and spitting into his desk drawer.

But that's the only real weakness in a vibrant production that, thanks to Nicholas Carter conducting, also gains tremendous orchestral drive and impresses with its temperament and sometimes breakneck tempos, which the Bavarian State Orchestra not only handles flawlessly from the snappy overture onward, but also fills with rich, elegant life.

                                                     *****