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Die Fledermaus (The Bat)

Johann Strauß (1825 – 1899)

Informationen Zum Werk

Operetta in three acts
Libretto by Karl Haffner and Richard Genée
First performed on 5th April 1874 at the Theater an der Wien in Vienna
Premiered at the Deutsche Oper Berlin on 28th April 2018

In German language with German and English surtitles

3 hrs / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance



Nikolas Maximilian Nägele
Sir Donald Runnicles (21.12.2018)
Stephan Zilias (26.12.2018 | 31.12.2018 | 31.12.2018 | 01.01.2019 | 03.01.2019)


Johannes Leiacker

Light Design

Davy Cunningham


Philippe Giraudeau

Chorus Master

Jeremy Bines

Gabriel von Eisenstein

Thomas Blondelle
Daniel Brenna (21.12.2018 | 31.12.2018 | 03.01.2019)
Burkhard Ulrich (26.12.2018 | 31.12.2018 | 01.01.2019)

Rosalinde, Eisenstein's wife

Annette Dasch
Rachel Willis-Sørensen (21.12.2018 | 31.12.2018 | 01.01.2019)
Hulkar Sabirova (26.12.2018 | 31.12.2018 | 03.01.2019)

Frank, a prison governor

Kurt Rydl
Markus Brück (21.12.2018 | 31.12.2018 | 03.01.2019)
Stephen Bronk (26.12.2018 | 31.12.2018 | 01.01.2019)

Prince Orlofsky

Jana Kurucová
Annika Schlicht (26.12.2018 | 31.12.2018 | 01.01.2019)

Alfred, a singer teacher

Mert Süngü
Robert Watson (21.12.2018 | 31.12.2018 | 03.01.2019)
Attilio Glaser (26.12.2018 | 31.12.2018 | 01.01.2019)

Dr Falke, a notary

Thomas Lehman
Philipp Jekal (26.12.2018 | 31.12.2018 | 01.01.2019)

Dr Blind, a lawyer

Jörg Schörner
Paul Kaufmann (21.12.2018 | 31.12.2018 | 01.01.2019 | 03.01.2019)

Adele, Rosalinde's maid

Alexandra Hutton
Siobhan Stagg (21.12.2018 | 03.01.2019)
Meechot Marrero (26.12.2018)


Kathleen Bauer
Judith Shoemaker (24.11.2018 | 31.12.2018 | 01.01.2019 | 03.01.2019)

About the performance

“Blame it on the champagne, tra la la la la !” That’s the half-truth that the protagonists in Johann Strauss’s THE BAT sign up to at the end of a drink-fuelled night of mistaken identities and erotic escapades. But alcohol is only partly to blame; the confusion is largely due to the wiles of the humiliated Dr Falke, who was once exposed to small-town ridicule dressed in the costume of a bat and is now seizing his chance to avenge himself on his ‘good pal’, bon vivant Gabriel von Eisenstein. And so it is that the maid disguises herself as an actress, the wife as a Hungarian countess and Eisenstein himself as a French marquess and off they trot to Prince Orlofsky’s masked ball. That they end up bewailing their fate in jail early the next morning is less down to champagne than to the natural course of events. In THE BAT Johann Strauss pulled off a work that proved to be the prototypical Viennese operetta, bursting with waltzes and polkas and oozing wicked irony. Inspired by Offenbach’s opéras buffes from Paris, Strauss’s work was merciless in the way it held up a mirror to the bourgeois salon-going public - and many audience members recognised themselves in the absurd antics onstage.

Our thanks to our partners

Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.



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