Opera Śląska

Revenge of the Bat

29 Jan — 31 Jan 2027
18:00 - 21:10
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Tickets

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ul. Moniuszki 21-23, Bytom

The premiere of the operetta “Revenge of the Bat” took place on April 5, 1874 at the Theater an der Wien in Vienna. The authors of the libretto, according to the French vaudeville Le Réveillon by Henri Meilhak and Ludovic Halévy, are Karl Haffner and Richard Genée.

About the event

CAST:

Eisenstein: Maciej Komandera/Kamil Zdebel

Rozalinda: Anna Wiśniewska-Schoppa/Małgorzata Trojanowska

Adela: Marta Huptas/Karolina Wieczorek

Alfred: Lukasz Gaj/Adam Zdunikowski/Adam Sobierajski

Dr. Falke: Stanislav Kuflyuk/Adam Woźniak

Prince Orlowski: Anna Borucka/Michał Sławecki

Frank: Bogdan Kurowski/Grzegorz Szostak

Dr. Blind: Jarosław Bielecki/Juliusz Ursyn-Niemcewicz

Departure: Roksana Majchrowska/Magdalena Okonska/Magdalena Wójciak

Frosch: Witold Dewor

Prince's assistant: Michał Bagniewski/Adam Janik/Juliusz Krzysteczko

Soloists, choir, ballet and orchestra of the Silesian Opera under the baton of Przemysław Neumann.

The premiere of the operetta “Revenge of the Bat” took place on April 5, 1874 at the Theater an der Wien in Vienna. The authors of the libretto, according to the French vaudeville Le Réveillon by Henri Meilhak and Ludovic Halévy, are Karl Haffner and Richard Genée.

The action of the operetta takes place in the circle of Viennese salons. The sympathetic, albeit reckless financier Gabriel von Eisenstein, is to be taken into custody for slapping a tax official. His friend, however, urges him to tear himself up a bit beforehand and attend the ball. However, this is not an attempt to comfort Gabriel, but part of an intrigue intended to be revenge for the fact that he once left him drunk after a party and forced him to walk through the streets of Vienna... in the guise of a bat. At the ball Gabriel will appear incognito, not knowing that - also incognito - his wife Rozalinda and maid Adela, and even himself... the prison director (also in disguise) will be there. The masquerade will lead to an avalanche of funny mistakes...

The witty dialogues, full of ambiguous wordplay, are the merit of an excellent translation by Julian Tuwim, one of the most popular poets of the interwar twentieth century. The comicism of the situation, as in a perfect comedy of mistakes, is intertwined with the comicism contained in the text, and all this is illustrated by the exuberant, joyful music of the waltz king.

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