Tayside Opera serves up sheer delight with Die Fledermaus farce

This famous opera – or operetta, depending on which form is used – stems from a farce that premiered in Berlin in 1851.

It eventually morphed into Die Fledermaus via a Parisian version called La Tzigane. But whatever its origins, it emerged as one of the most popular works in the repertoire.

The opera still has a farce-like element, not quite in the Brian Rix mould, but with mistaken identity, bogus names and obvious disguises, there is a strong element of fun. That’s exactly what was delivered in Tayside Opera’s current production.

Of the five principal protagonists in the tale, Tayside has a quintet that many societies, both amateur and professional, would love to get their hands on. The first act was their domain and the action was smooth as silk and a joy to behold.

Moira Docherty (Rosalinda) and Russell Malcolm (Falke) are Tayside stalwarts and I knew what to expect from them. Top-class performances, and that’s what I got.

But I was taken aback by the unknown quality which joined them on stage. Bror Pike, as Gabriel, was a revelation.

Alex Hayes trod the right side of going over the top with his characterisation of Alfred, and I had to chuckle more than once at his outrageous habit of breaking into operatic arias.

Completing this line-up in style was Louise Thomson (Adele), catching the persona of a mischievous, coquettish chambermaid perfectly.

Acting – five stars. Singing – equally good, and if I had to choose a favourite, it would be Louise’s Laughing Song and Moira’s Czardas. Any ensemble work, trio or duet, was also faultless.

I should also mention Elaine Young (Orlofsky), and I enjoyed her rich and powerful mezzo/alto voice.

I would have preferred a more relaxed approach to the role but I guess a more staid and formal style was the dictate of producer Alan Borthwick.

I had to feel a bit sorry for the chorus, for I know there’s nothing worse than an extended time in the dressing room awaiting your moment.

When their moment did come, in Act Two, they were a wee bit tentative, perhaps due to the constrictions of the stage in Brechin’s City Hall.

However, the concerted numbers – Sing To Love and Champagne – saw them in customary good voice.

There’s no point in having musical excellence on stage if it’s not mirrored in the pit.

MD Richard Johnston has a fine and experienced crew.

You can catch their latest operatic foray in The Space, Dundee, tomorrow, Friday and Saturday. There’s much to be recommended.

Tayside Opera’s production of Die Fledermaus.