Bat on a crash course: When operetta becomes a political stage

Bat on a crash course: When operetta becomes a political stage

A very special event is currently being celebrated at the Theater an der Wien: the production of Johann Strauss' “Die Fledermaus”, which was premiered in this venerable house in 1874, is dedicated to the composer's 200th birthday. The performance, which premiered on October 5, 2025, begins with Beethoven's “Fidelio” and, in addition to the classic sounds of Strauss, also features works by Wagner, Verdi, Puccini, Lehár and Millöcker. But the production under director Stefan Herheim is polarizing.

“Die Fledermaus” is an operetta in three acts, the libretto of which is by Richard Genée, and which attracts great attention with its charming mixture of light theater and serious music. The story blurs boundaries between reality and fantasy, between aristocracy and the everyday lives of servants. This offers room for numerous creative interpretations. Herheim is known for his irreverent and cheeky productions, which are also noticeable in this performance - the stage design transforms from an auditorium into a prison several times, which causes some eye rolls in the audience.

Musical performance and staging

The musical implementation is carried out by the Vienna Symphony Orchestra under the direction of Petr Popelka, but there are mixed reviews here. The interpretation is considered tough and lengthy and the overall musical picture is criticized as overloaded. Despite the high tempo of the scenic sequence, many interludes do not seem to do justice to the strength of the work. In addition, there is the depiction of Nazis on stage and the character of Dr. Falke, who is staged here as a top Nazi. The audience remains moderate in its reactions and the production is not perceived as scandalous.

Speaking of the cast: The quality is mixed here. David Fischer, who plays Alfred, is highlighted as the bright spot of the evening, while Aline Wunderlin hits the top notes for Adele. Thomas Blondelle gives a solid performance as Einstein, but he falls short of expectations. Hulkar Sabirova as Rosalinde impresses with her powerful soprano attacks, but she lacks expression. Leon Košavic as Dr. Falke brings joy to the stage, while Kresimir Stražanac as Frank and Jana Kurucová as Prince Orlofsky are also positively mentioned. Alexander Kaimbacher as Dr. Blind and Ines Hengl-Pirker as Ida also receive kind words.

A look at the reception

The audience's lukewarm reactions shed light on the question of whether the operetta genre is still taken seriously today. Although “Die Fledermaus” is a globally popular operetta that remains particularly popular in Vienna, the question remains whether the current production lives up to the high musical and singing standards that were expected at the premiere 151 years ago.

As part of the anniversary program, the Theater an der Wien is integrating numerous events and information about Johann Strauss and his enduring music, which will continue to play an important role in Vienna's cultural life in 2025. With an introductory event that begins 30 minutes before the start of the performance, the audience is given the opportunity to get in the mood for the performance and to better understand the background.

In conclusion, the latest production of “Die Fledermaus” can be perceived as both a homage to Strauss’ legacy and an exciting experiment in operetta performance. Further performances are planned, and Johann Strauss's influence on music remains undisputed - as a journey through musical history shows, which culminated with his waltzes and operettas.

For more information about other events and the 2025/26 season, visit the website courier and that Theater an der Wien.