DIE FLEDERMAUS – STRAUSS [Sung in English]
Presented on Dec 2, 4, 6, 10 at the Gaiety Theatre Dublin as part of the Dublin Grand Opera Society’s Winter Season
Jennifer Caron – Rosalinda
Malcolm Rivers – Eisenstein
Ann Moran – Adele
Brian Kemp – Falke
Marjory McMichael – Orlofsky
Stefano Curris – Alfred
Eric Shilling – Frank
Evan Thomas – Frosch
Monica Condron – Ida
Terry Jenkins – Blind
Albert Rosen – Conductor
Philippe Perrottet- Producer
Dublin audiences were to encounter Albert Rosen for the first time when he conducted “Die Fledermaus”. He had been first invited to Ireland by Dr Tom Walsh in 1965 to conduct “Don Quichotte” at the Wexford Festival and on his own admission, instantly liked Ireland and the Irish people. He was back in 1966 for Donizetti’s “Lucrezia Borgia”. This led to engagements with the Radio Eireann Symphony Orchestra and to his appointment as principal conductor in 1968. Born in Vienna in February 1924, he was to admit that his talents were slow to emerge – he had to be persuaded to audition for the Vienna Academy and was surprised when accepted. His progress was quick as he studied piano and composition under Joseph Marx, and conducting with Hans Swarowsky He moved to Prague in 1960 as resident conductor at the National Theatre, later becoming director of the Smetana Theatre, now the State Opera. He quickly made his mark with the DGOS, with some people feeling he should have been asked to conduct “Eugene Onegin” instead of “Die Fledermaus”. With his background, I think it would have been very interesting,’ recalls Brian O’Rourke, who felt that Rosen simply loved conducting whether it was opera or symphonic music, though opera was really his background. He could be difficult with singers and throw a tantrum and he belonged to that school of conducting where the maestro was the absolute boss. He didn’t have a great deal of time for operatic directors as he saw opera as a musical experience. From the outset, Paddy Brennan was impressed by his dynamic approach and his capacity to wring the best out of performers. When he came first to the society his burly figure, gruff voice and no-nonsense air was to prove somewhat off-putting to some choristers. ‘Sometimes he put the fear of God into me, but only where music was concerned,’ says Monica Condron. His eastern European background was new to us and we didn’t know what to expect. Off the podium, though, he could be charming and friendly and was a singers’ conductor. He wasn’t the one to parade his talents. I know that Bill O’Kelly was very happy to have him as one of his conducting team, regarding him as both versatile and talented. Some people felt their personalities were not dissimilar.’
(Extracted from “Love and Music: The Glorious History of the Dublin Grand Opera Society” by Gus Smith, 1998)
Do YOU have any memories or materials (photos, clippings, recordings) of this production of “Die Fledermaus”? We’d love to give them a permanent home – please make contact.
Opera in Ireland 