Reviews

US Reviews from US debut tour – Fall 2004/winter 2005:
STRAUSS DIE FLEDERMAUS

The production toured as a co-production of Czech Opera Prague and Teatro Lirico D’Europa. On the 2009-2010 season the production will be Teatro Lirico D’Europa only.

Strauss, a ‘mouse' and a night of memories
I was whistling the waltz everyone knows as I left the Naples Philharmonic Center for the Arts Tuesday evening. “Well I see you really enjoyed tonight’s performance,” two of my favorite ushers commented, smiling as I stopped to chat with them. Czech Opera Prague certainly proved itself to be a competent
company. The wall- to-wall audience clearly loved the performance, more than a few of them nodding and swaying to the familiar music as the drama unfolded. Particularly Noteworthy was soprano Anna Klamatova-Janotova, perfectly cast as the petulant but sexy Adele. Sung and spoken in German with English super titles, one need not know
a word of German to follow the story. Frocshe, the tipsy jailer played by Gueorgui Dinev, brought down the house. Every five years or so I get a hankering for a fix of comic opera. Last night’s performance satisfied that craving.”
NAPLES DAILY NEWS – Peg Goldberg Longstreth – Dec. 2005

NO TRICK - "Fledermaus" IS A TREAT "
On Friday, Teatro Lirico D'Europa in collaboration with Czech Opera Prague, presented the first of three Halloween weekend performances of DIE FLEDERMAUS at the Cutle Majestic Theatre. A better way to scare up some holiday fun could hardly be magined. While traditionally FLEDERMAUS is a staple of New Year's Evegalas at opera houses around the world, it is equally appropriate for Halloween. The engaging Czech Opera singers went through their paces with professional poise and boundless charm. The opera was sung in the original German, but the projected titles were almost unnecessary, so clear were the cast's moves as directed by Martin Otava. Conductor,
Martin Mazik kept Strauss's musical champagne flowing by the magnum as did standouts like Jitka Svobodova as Rosalinde, Jan Jezek as Eisenstein, Jaromir Novotny as Alfred and Anna Klamatova-Janotova as Adele."
BOSTON HERALD - T. J. Medrek - October 2005

"FLEDERMAUS"
Czech Opera Prague's performance of Strauss's DIE FLEDERMAUS in the Cutler Majestic Theatre last Friday night was an entertaining, bubbly show, with pretty sets and costumes by Martin Otava, also responsible for the witty, detailed staging. Strauss's alluring waltzes were well played by the orchestra of Teatro Lirico D'Europa, energetically conducted by Martin Mazik. These Czech artists looked their parts and acted and danced them to the hilt."
BOSTON GLOBE - Richard Dyer - November 2005

CZECH OPERA DIE FLEDERMAUS
"On Saturday, October 15, at the Cerritos
Center for the Performing Arts not far from Los Angeles, Czech Opera Prague presented Johann Strauss's Die Fledermaus in a traditional setting. The stage direction, design, lighting and newly updated dialogue were all the work of the company's artistic director, Martin Otava. Although the company is touring the United States and everything used on stage has to be trucked to the next city each night, the sets were fresh looking and substantial while the costumes were colorful and attractive. Jitka Svobodova was a charming and intelligent Rosalinda who made one wonder why Eisenstein did not treat her better.
Her singing soared over the orchestra and she proved to be a skilled actress, especially in the crucial moments of Act II.

As her husband, Eisenstein, Jan Jezek sang with a well-projected, robust sound and was a convincing married playboy. Jaromir Novotny was an amusing and amorous Alfred who sang snippets of Italian opera with romantic fervor. An accomplished singing actor, Pavel Klecka was an edgy Dr. Falke who could be personable in social situations, but never let the audience forget he was intent on getting his revenge. Much of the opera is dependent on the ability of the Adele, played here by the
multi talented Anna Klamova-Janotova. She was lazy as the chambermaid in Act I, haughty as the would-be singer who had occasional lapses of class in Act II and charming as the supplicant in Act III who won over the jailer. Not only can this singer act, she has good coloratura and a silvery mid-sized voice that carried well in the large hall.

Although Viara Zhelezova was a charming Orlovsky, you knew it would be perilous to contradict the seemingly vague but actually powerful member of the nobility that she portrayed. Small boned with a trim figure, she has the low notesthe part and she sang them with gusto. Marian Rehor was an effusive prison director and a perfect co-conspirator for Klecka's Falke. Jiri Kubic was a comical Blind and Gueorgui Dinev was
hysterically funny as the drunken Frosch. The thirty-three year old conductor Martin Mazik, who is new to this country, turned out to be an excellent leader who propelled the piece forward at a brisk pace and drew fine playing from everyone in the orchestra. He communicated well with the stage too, and the evening was filled with musical merriment."
Maria Nockin - OPERA JAPONICA - October 2005

CASTING BOLSTERS PERFORMANCE BY CZECH OPERA
"The Czech Opera Prague, directed by Martin Otava, gave new meaning to the term "light opera" as it presented a lighter-than-air performance of Johann Strauss DIE FLEDERMAUS Saturday evening at the Lied Center. There was not a heavy
note in the entire production, from the cast’s precise and weightless movements about the stage to the lighthearted treatment of the plot itself. The operetta was performed in German, with English supertitles, but when the audience heard Eisenstein, in the first scene, tell the maid to order "Kentucky Fried Chicken" for his supper, we knew the company would wring more fun than usual from this airy plot. Comic acting was broad and excellent throughout, and the music was pleasing
from the familiar three opening notes of the overture until the last chord of the choral finale.

Casting was right on the money, and there were no weak individual performances. Jitka Svobodova gave Rosalinde both the requisite hauteur and a strong dramatic coloratura voice that stood out clearly over the chorus and shone. Tenor Jan Jezek played and sang Gabriel Von Eisenstein with clarity and assurance. And the young lyric soprano Anna Klamova-Janotova stole scene after scene as the soubrette Adele, hitting her high notes and flouncing about the stage convincingly as a hoyden having the time of her life. The part of Dr. Falke, the "Fledermaus" of the title, was well-played by baritone Pavel Klecka, who gave his character just enough edge to make his desire for revenge believable. Bass-baritone Marian Rehor made a fine coconspirator, prison warden, and Chevalier Chagrin, Jaromir Novotny in a tootight vest played a farcical Alfred, the tenor who won't stop singing. Though the character's singing is a running joke among the others, the joke
does not conceal Novotny‚'s fine lyric tenor.

The diminutive mezzo-soprano Viara Zhelezova, in a role often given to women, played a fey and blase Prince Orlovsky, playing host to the ball, dictating its rules and leading the praise of King Champagne. She and a dance partner also turn in a graceful performance as they led the waltz near the second act's close. The third act opened with veteran Bulgarian actor Gueorgui Dinev in an old coat, beret and boots as the slivovitz-addled Frosch (German for "Frog") in an extended comic interlude. The audience broke into applause as he kick-started an imaginary (and anachronistic) motorcycle and puttputted offstage. Martin Mazik conducted the Sofia Symphony Orchestra and Chorus. The orchestra was the best heard in a Lied Center opera in several years, while the chorus filled every inch of the house with sound, especially in the big second-act numbers in praise of love and wine. The chorus, joined by dancers filled the stage with music and movement. Colloquial supertitles kept the audience engaged in the dialogue. At evening's end, a well-filled house, still energized after nearly three hours, kept the cast for third and fourth bows."
LAWRENCE JOURNAL WORLD – Dean Bevan - October 2005

SHOW'S HUMOR IS A PLEASANT SURPRISE
"The Czech Opera Prague performed, Die Fledermaus on Saturday at the Lied Center. The comic operetta by Johann Strauss could be enjoyed by the opera lover as well as those
new to opera. The element that set it apart was its comedic timing and the way the performers tried to make an old art new. In other words, it was funny! Who knew? Die Fledermaus which means The Bat, centers on Dr. Falke's plot to get back at Gabriel Von Eisenstein for leaving him in a bat costume on a park bench. The evening is full of mistaken identities, plenty of champagne and jubilant music. All the characters had fun with their roles in the fancy Vienna setting of the 1890s. The characters fit their roles perfectly, and their comedic timing was
impeccable. Attending three hours of opera can seem a daunting endeavor. However, once the curtain opened, time passed quickly through the evening of lively song and dance. Much of the singing revolved around either champagne or being too tipsy, all of which worked toward the prevailing mood of festive happiness. The ending left the audience full of exultation and a desire to toast with the performers. And those who attended Die Fledermaus know the Czech Opera Prague deserved many toasts."
Lawrence.com ARTS – Laura Parkinson – October 2005

FLEDERMAUS at BOSTON’S MAJESTIC THEATRE
"One word can best describe the Czech Opera of Prague's production of Johann Strauss' classic operetta,"Die Fledermaus", last night at the Cutler Majestic theater in Boston:
flawless! Strauss surely had to be smiling on Friday evening as this magnificently staged production wowed Boston's opening night opera audience. The cast was robust and electrifying, the music, conducted brilliantly by Martin Mazik, was performed with verve and an incredibly high level of energy that was contagious on the audience, the staging by Martin Otava, was superb and well thought out, the sets and lighting, also by Martin Otava, were effective and colorful, and the costumes by Martin Otava were sumptuous - and these are just initial
impressions.

Where to begin? Standing alone "Die Fledermaus" is just an enjoyable opera. It's filled with the kind of memorable, foot tapping enduring tunes that are so lacking in contemporary opera today. As for this production, when it is staged with such exacting attention to detail and with such energy as it was here, its performance can become an opera event, and that's what those lucky enough to attend Friday evening's performance saw: an opera event that will be difficult to forget. From the moment the curtain rose, and the magnificent display
of color and rich stage sets appeared, one sensed this was going to be something special - and what made it so special was a dynamic cast that reached for the best they could give, and then gave and gave and gave, right up until their final bows.

Strauss' story of a philandering, hapless husband, an equally
flirtations wife, a chamber maid with a dream to be a world class singer, and of a friend with a debt to repay for an old insult, is irresistible, and done in the right manner can be unforgettable as well. Such was the case here, thanks largely to a superlative cast. Soprano Jitka Svobodova, singing the title role of the flirtatious Rosalinde, belted out one song after another, her voice strong, steady, mellifluous throughout - and her acting: petulant, coy, vulnerable, whatever she had to be she was, and more. Ms. Svobodova has a commanding stage presence matched by a rich sound that seems to be without limitation. Whatever she sang was easily in her range, and
however she sang it was obviously exactly how it was supposed to sound. Perfect!

Tenor Jan Jezek, singing the role of her philandering husband von Einstein demonstrated an equally commanding stage presence and good sense of timing, humor, and richness of voice that made his character come alive and lovable, even if roguish. Great acting and well-done. Soprano Anna Klamova-Janotova, the chamber maid, Adele, with a dream of becoming a world class singer was hilarious, sexy and seductive. I laughed out loud when she made her initial entrances, face frowning,
mouth open and a high pitched squeal coming forth (always in perfect pitch) weeping over the fact she was not allowed the night off to attend to her dying aunt, when actually she wanted to attend a gala ball. It is little things like her entrances that begin off stage that truly mark a studied and great performance, and Ms. Janatova, our lovely Adele, glowed with star quality last night giving us a performance worthy of the title. Wonderful!

As the friend with a decades long grudge and a game to play out on his best friend, Gabriel von Einstein, baritone Oldrich Kriz's, Dr. Falke, proved to be another dynamo performer on stage with loads of stage presence, ease of movement, like when he led a conga dance line around stage after the party (and what a scene that was) and a galvanizing baritone voice that was smooth and communicative. Bravo! It was performances such as his, consistent throughout the entire cast that made this production so noteworthy. Singing the role of Alfred, the tenor with a high B that sends Rosalinde a quivering with delight, was tenor Jaromir Novotny. Here again, we got solid acting, good stage presence and a wonderful tenor voice that was strong yet never pushed to its limit, meaning he sang with measured control - and for tenors, that's not always so easy.

Baritone Marian Rehor, who sang the role of prison warden sent to arrest von Einstein, but mistakenly locks up poor Alfred, who he confuses as Rosalinde's husband, made his role and his character truly memorable. Here is a role that in the wrong hands can bring this show down if played to "hammy". Instead, Mr. Rehor gave us a prison warden that was funny, amiable, in search of love (who wasn't in this story) and kind of lovable. He demonstrated good singing ability, had nice stage presence, and a sense of timing that made him noticed, while never seeming to milk a scene. Well done! Lastly, Viara Zhelezova,
whom I saw last night singing the title role of Rosina in Rossini's "Il Barbiere di Siviglia", and who this evening sang the role of Count Orlofsky - what can I say. To come off one evening's performance in one role and then jump into another with as much effort as done here . . . Brava!

While I normally prefer male roles to be played by male characters, her Orlofsky was a pleasure to watch, her voice was still capable and not stressed, and her stage presence was commanding. This entire cast and chorus were lively, fully involved in what was going on on stage and directed such that even when the stage was full of bodies, as it was for the gala ball, everyone had something to do. When they did the conga, you really did believe you were at a wild party. There was
whistling, shouting, giggling, flirting, and movement that captured the moment just beautifully. And that's the bottom line on this production: Wonderful in every sense, flawless in its execution and a joy to behold."
OPERAONLINE.US - P. Walkowski – October 2005

'Die Fledermaus' is a hilarious treat
"Audiences of all kinds will be delighted with "Die Fledermaus,"
the operetta written by Johann Strauss. Full of mistaken identity, physical humor and irony, people will revel in its timeless tale of friendly mischief and pranks. The Czech Opera Prague performed "Die Fledermaus" on Sunday, Oct. 23, at the Touhill Performing Arts Center to a full audience. The audience was delighted with the operetta and its wonderful cast of characters that included many talented opera singers and actors. Performed in German with English subtitles, the audience has no problem following the comprehensible storyline. The characters are fresh and witty and the
audience is captivated by their words. The singing, from Jitka
Svobodova, the soprano who plays Rosalinde, to Pavel Horacek, the baritone Dr. Falke, was spectacular even to those who are not fans of opera music. The timelessness and comic timing of this wonderful operetta deserves an A and a strong ecommendation to any opera lovers to see it. Even if you have never been to an opera, this is the perfect one to try out."
THE CURRENT - Laura Ayres – October 2005

This BAT Hits It Out of the Park
"This 3 act opera that brought the Garde Arts Center to their feet Tuesday, thanks to a lively performance by the Czech Opera Prague. The Czech opera had to be admired for its
theatrical and vocal skills. Soprano Jitka Svobodova as Rosalinde was a standout singer, displaying great control and power. Anna Klamova-Janotova, a lovely soprano, won hearts in her role as Adele, the vivacious chamber maid, and displayed a fine range and technical mastery well beyond her years. The men's parts called on a broad range of acting skills, and Jezek and Kriz enjoyed the challenge. The most riveting scene occurred in the 3rd act when G. Dinev appeared as Frosch, a drunken jailer. Dinev was hysterical. The stage direction by
Martin Otava added physical interest to the music with interesting blocking, beautiful costumes and professional dancers. The sets were lavish and nicely done while the orchestra directed by Martin Mazik conveyed the wide swings between gaiety and somberness with great aplomb. Lightness and good humor prevai when the refrain "Chacun son
gout" - "do what you want" - ushers one out into the night refreshed and humming a lively waltz tune."
THE DAY - Lee Howard - November 2005

BOSTON FLEDERMAUS
“Czech Opera Prague’s performance of DIE FLEDERMAUS in the Cutler Majestic Theatre last Friday night was an entertaining, bubbly show with pretty sets and costumes by Martin Otava, also responsible for the witty, detailed staging. Strauss’s alluring waltzes were well played by the orchestra, energetically conducted by Martin Mazik. These Czech artists looked their parts and acted and danced them to the hilt.”
BOSTON GLOBE – Richard Dyer –November 2005

A ROUSING DIE FLEDERMAUS
“PCA Great Performances lit another candle on its 75th-birthday cake with a charming performance of DIE FLEDERMAUS, part of the first U.S. tour for Czech Opera Prague which promises to be
highly successful...a first rate and genuinely humorous production, which was little short pf miraculous for a road show in terms of voices, character acting, costumes, choreography and stage design. All of the characters were equally well sung and acted – and earned a late night standing ovation.”
PORTLAND PRESS HERALD – Christopher Hyde – February 2006

SYMPHONY SOCIETY SERVES UP TREAT
“Daytona Beach Symphony Society’s Winterfest served up a fluffy, flakey confection with DIE FLEDERMAUS. It was an effervescent treat. Never in recent memory has Peabody Auditorium echoed with so much loud, spontaneous laughter from young and old alike, and never has a performance been interrupted so often with quick, warm, welcome applause. More satisfying were the fine sets, lighting, costumes and live orchestra and most delightful were the outstanding erformances.”
DAYTONA BEACH NEWS- JOURNAL – Laura Stewart – January 2006