Vladivostok, Primorsky Stage, Great Hall

Die Fledermaus

Operetta by Johann Strauss II

Performed in Russian
(the music highlights will be accompanied by synchronised Russian and English supertitles)



Pavel Smelkov

Heinrich von Eisenstein: Alexei Smirnov
Rosalinde: Alena Diyanova
Adele: Maria Suzdaltseva
Alfred: Roman Krukovich
Falke: Vyacheslav Vasilyev
Prince Orlofsky: Tatiana Makarchuk


Music by Johann Strauss II
Libretto by Karl Haffner and Richard Genée after a farce Das Gefängnis (The Prison) by Julius Roderich Benedix and vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
Russian text by Nikolai Erdman and Mikhail Volpin

Musical Director: Valery Gergiev
Stage Director: Alexei Stepanyuk
Stage Director, Choreographer: Ilya Ustyantsev
Set Designer and Costume Designer: Vyacheslav Okunev
Lighting Designer: Yevgeny Ganzburg
Video Designer: Viktoria Zlotnikova
Lighting Adaptation for the Primorsky Stage: Yegor Kartashov
Musical Preparation: Alexey Tikhomirov
Principal Chorus Master: Larisa Shveikovskaya

Stage Elocution Coach: Dmitry Koshmin


Act I
The pretty maid Adele is labouring away in the rich von Eisenstein household; she dreams of becoming an actress. Alfred, an admirer of her mistress Rosalinde, sings a serenade beneath an open window. In the hope of being left alone with the object of his love, he gives Adele an invitation to a masked ball at Prince Orlofsky's. The girl is thrilled; she just has to think of a reason why her mistress would give the servants time off and how to obtain a suitable outfit. Alas, Rosalinde pays but little heed to her maid's entreaties. The master of the house, the financier Heinrich von Eisenstein, appears. He has had some bad news: for hunting on someone else's estate he must go to prison for eight days. Von Eisenstein considers his lawyer Herr Blind and not himself to be guilty. And here is Blind himself: he has come with promises to have the case reviewed. Rosalinde and Heinrich launch a tirade of invectives at him. The notary departs, man and wife are left alone and Heinrich informs Rosalinde of his unintentional poaching. As the talk progresses, details emerge that von Eisenstein would rather have kept hidden from his wife. They will have to improvise "off the cuff"; Heinrich will be assisted in his virtuoso deception by his friend Falke, a theatre director who has come to visit. Unbeknownst to Rosalinde, Falke suggests his friend goes to the ball under the name of one Marquis de Karambol, going on to the prison the following morning. This risky undertaking fills von Eisenstein with delight. The time for farewells has come: man and wife fondly say goodbye to each other, and Heinrich leaves the despondent Rosalinde alone. Alfred immediately takes advantage of the opportunity afforded to him, makes himself at home in the house of his beloved and starts guzzling wine. Frank, the governor of the prison who has come to arrest von Eisenstein, on taking Alfred to be Rosalinde's husband, carries him off to jail.

Act II
Numerous guests have filled one of the rooms in the home of Prince Orlofsky. The cordial host of the ball invites everyone to drink and be merry until the morning. The disguises and costumes permit the guests to remain incognito – a succession of misunderstandings ensues. Falke is attracted by a lady in a pink dress, still unaware that it is Adele who has borrowed her mistress' gown. Von Eisenstein's attention is drawn to a mysterious duchess dressed as a bat. To the delight of all, she sings a Hungarian song – a csárdás. Orlofsky introduces the delightful Adele, whom he takes to be a baroness, to Heinrich, who he believes is a marquis. Fearful of being discovered, the maid and the master are each forced to play the roles thrust upon them. At last Heinrich is left alone for a tête-à-tête with the beautiful stranger, not suspecting that under the guise of a bat it is his own wife. Rosalinde uses her cunning to get the watch she gave von Eisenstein, allegedly to compare its ticking with the beating of her own fluttering heart.
Meanwhile, the festivities are continuing. The guests drink to fraternity and then dance. As morning draws near, von Eisenstein and Frank must depart for the prison: one under arrest and the other to work. In amazement, Heinrich learns from Frank that the previous evening the latter had already deposited Rosalinde's husband in a cell. Teetering along, von Eisenstein and Frank enter the prison fortress.

At the prison, the warder is in charge – he is a great lover of having a drink. His chief, who comes to the prison after the ball, must freshen himself up in the bathroom. Von Eisenstein Arrives: the jealous husband wishes to know who his double is. Blind the lawyer appears: Alfred, now sober, has summoned him, no longer wishing to sit in prison on behalf of the true guilty party. The enraged Heinrich runs in and takes the lawyer's cloak and wig – he himself wishes to interrogate the pseudo-von-Eisenstein.
When talking with the "lawyer", Alfred is stunned by his furious reaction to the evening episode at the von Eisenstein household. Rosalinde appears. Her husband is angry at her, though Frau von Eisenstein shows her husband the watch – evidence of his infidelity. Heinrich is unmasked and begs for forgiveness. Several of Prince Orlofsky's guests enter, wishing to continue the festivities. The Bat reveals her incognito persona to all, and Adele immediately joins Falke's theatre company. "Madame Moral has taught her lesson and Monsieur Destiny has been disgraced," as all sum up.


The waltz, wine and totally unrestrained merriment reign supreme in Die Fledermaus. Even the prison here is joyful rather than fearsome – people enter it almost willingly and there continue to celebrate. The leitmotif of the entire operetta comes with the words from Alfred and Rosalindeʼs duet – “Happy is he who passes by grief and cares.” “Easy listening” it may well be, but it is by no means easy to perform: both female leads demand virtuoso operatic control of the coloratura technique.

Russian audiences will be familiar with Die Fledermaus first and foremost thanks to the 1979 Lenfilm studiosʼ comedy with the Solomin brothers. In the film, the female vocals were provided by Larisa Shevchenko and Sofia Yalysheva, soloists of the Kirov Theatre. The text by Nikolai Erdman and Mikhail Volpin (1947), which provided the basis for the film script and for the current Mariinsky Theatre production, departs from the original libretto and offers an essentially separate and new opus, albeit retaining the majority of the characters.

And yet however much the plot peripeteia may differ, in any version and in any interpretation what remains unaltered is the dizzying and intoxicating music of Strauss. As critics noted following the premiere, it “enters the bloodstream through the ears and flows down to the feet, and even the most lazy listener unwittingly begins to nod his head, bestir himself and start tapping his feet. ‹…› One might well develop a good case of seasickness – the whole of the stalls 'rocks' so much from those magical waves of music that rise up from the orchestra pit.”

World premiere: 5 April 1874, Theater An der Wien, Vienna
Russian premiere: February 1877, Theatre Buff, St Petersburg
Premiere at the Mariinsky Theatre and production premiere: 26 December 2020, St Petersburg
Premiere at the Primorsky Stage of the Mariinsky Theatre: 26 March 2021, Vladivostok

Running time: 3 hours
The performance has one interval

Age category 16+

© 2016 – 2024
The Mariinsky Theatre
Primorsky Stage Information Service
+7 423 240 60 60
Any use or copying of site materials, design elements or layout is forbidden without the permission of the rightholder.

The highlighting of performances by age represents recommendations.

This highlighting is being used in accordance with Federal Law N436-FZ dated 29 December 2010 (edition dated 1 May 2019) "On the protection of children from information that may be harmful to their health"