Adolf Müller: Viennese Blood • Bernese Summer Operetta • Performance: 01.09.2024
(2nd performance • Premiere on August 30, 2024)
Operetta as you wish it: lightheartedness, joie de vivre and frivolity
It is an even calendar year and so the Bern Summer Operetta delights with a brilliant stage production of «Wiener blood» with music by Johann Strauss. Scenically and musically nothing is left to be desired.
«Wiener blood» is one of the most frequently performed Strauss operettas. In contrast to «The bat” or “A night in Venice» Johann Strauss the Younger was not directly involved here. Adolf Müller the Younger (1839-1901), operetta composer, conductor at the Theater an der Wien and above all an accomplished theatre practitioner, compiled the music from Strauss’s rich oeuvre. The libretto, to which the music is normally composed and not the other way round as here, comes from the stage professionals Victor Léon (1858-1940) and Leo Stein (1861-1921), proven masters of their craft who together contributed to Lehár’s global success. Similar to «The Traviata” or “Carmen» fell «Wiener blood» at the premiere. After the Theater an der Wien and its director Alexandrine von Schönerer had lost interest, the «Wiener blood» did not prevent the bankruptcy of the Carl Theater and the suicide of its impresario Franz Jauner, but it did become a worldwide success. The catchy, mysterious title and the light-heartedness, joie de vivre and frivolity contributed to this, but above all, of course, Strauss’s immortal music.
The Orchestra of the BernerSommerOperetta under Michael Kreis plays with great concentration and brings the best of Strauss’ melodies to life in a rhythmically concise and colourful way. It is completely forgotten, and in this case that is the greatest possible compliment, how difficult it is to play something that is supposedly simple. Choir of the BernerSommerOperette is at work with great joy and pure harmony, perfectly choreographed by Stefanie Verkerk and Martin Schurr.
Andrea Suter gives a powerful, colorful performance as Gabriele Countess von Zedlau. Ulla Westvik enriches the role of the Probiermamsell Pepi Pleiniger with breathtaking coloraturas.
And Stephanie Bühlmann enchants with her naturalness as Demoiselle Franziska Cagliari. Raimund Return Balduin Grad Zedlau gives the role with a wonderfully radiant, sensitive tenor. Leon Emanuel Moser convinces as Prince of Ipsheim Gyndelbach with a wonderful character baritone and Erwin Hurni acts as valet Josef on equal terms. Actor Yves Ulrich gives the speaking role of carousel owner Kagler a convincingly gnarly character.
The co-direction of Simon Burkhalter and Linda Trachsel convinces with its sensitive character management, which breaks down the twists and turns of the play in a very understandable way, and references to the performance venue. The maid Franziska Cagliari and her father, the carousel owner, are from Kagler. And the moral guardian Prince of Ipsheim Gyndelbach speaks in a Saxon accent like Richard Wagner. With two platforms on the stage, there are three levels that can be used in parallel (stage: Simon Burkhalter). The costumes of Sarah Bigler play skillfully with the styles of Biedermeier and turn of the century.
Operetta as you would wish it: Absolute recommendation!
Further performances: 4, 6, 8 and 11 September 2024
09/04/2024, Jan Krobot/Zurich
