***************************************************

Boston, Massachusetts

Teatro Lirico's BARBER brings a barrel of laughs

"Rossini's THE BARBER OF SEVILLE is a comedy so expertly carpentered that it can still make an audience laugh 189 years after its premier.  It did so again last night at the Majestic Theatre, thanks to Teatro Lirico D'Europa.  It's fun to hear accomplished singers leap over the vocal hurdles and watch them put their personal stamp on the famous comic scenes.  Director Giorgio Lalov knows how to put all the traditional gags across, but also contributes some new ones of his own and lets the singers do what works for them.  Benjamin Brecher as the Count is a witty and engaging actor and can actually sing rapid passagework that many other tenors smear.  Shon Sims in the title role turned in some nimble vocalism and acting.  He also played the guitar well enough to accompany Brecher in his serenade.  Hristo Saraov offered a Dr. Bartolo whose dithering self-delusions became touching as well as amusing.  The best singer was Viara Zhelezova, the Rosina.  She has a lovely limber mezzo that she can move at warp speed, like Cecilia Bartoli.   She's charming and musical.  Conductor Martin Mazik is very young and quite talented.  There were many lively and elegant musical details.  Constantine Videv as the venal music Master Don Basilo paid tribute to the audience by sporting a pair of bright red sox." 
Richard Dyer - BOSTON GLOBE - October 2005
 
 

***************************************************

Teatro Lirico's il barbiere di Siviglia -- A Rollicking Good Time Was Had By All At Boston's Majestic

"Teatro Lirico D'Europa has delivered yet again, for Boston audiences, an entertaining evening of quality opera that is colorful, well sung and acted, and as professional as you will likely see anywhere else, here or abroad.  Teatro gave Boston a delightful production and what a show it turned out to be.  The production took off and soared and drew the audience into the fun of what was occurring on stage.  Everyone seemed to have a rollicking good time.  Here, the ensemble cast seemed to genuinely enjoy the lighthearted opera that took Rossini only nineteen days to complete.  What impressed most, however, was the fit between major roles and how well those roles were handled.  The fusion of character to singer, singer to ensemble was smooth and natural and when accompanied by a supportive orchestra, as was done here, under the leadership of Martin Mazik, the performance was made thoroughly enjoyable on multiple levels.  Credit has to go to Giorgio Lalov, for his adept stage direction.  Fun!  The characters here were so uniformly good and balanced in their presentations that it is impossible to single out any one; so rather than do that we just mention what struck us most about each.  First, American baritone Shon Sims' character Figaro was handled to near perfection both vocally and as an actor.  Mr. Sims was like the proverbial VISA Gold card - everywhere you wanted him to be, and then some - arranging meetings between the hopeful Count Almaviva, sung amusingly by tenor Benjamin Brecher, and the lovely Rosina, sung sweetly by mezzo-soprano Viara Zhelezova.  Sims' stage style is fluid and easygoing and his baritone is a perfect match.  Never stressed, right in range, and capable of navigating the sixteenths, which is no small achievement for a male singer.  Bravo!  Next would be baritone Hristo Sarafov's deliciously lustful, wonderfully sung and superbly acted, Dr. Bartolo.  Mr. Sarafov seemed to inherit his character above all others, and when he was on stage he was a force to reckon with - in all the best ways, and none more so than he was trying to discourage Count Almaviva from courting a kiss from Rosina.  Very well done and a great voice to boot.  American tenor, Benjamin Brecher's Almaviva simply cracked me up, especially as he donned various disguises to get closer to his main interest, Rosina, and especially so when he donned the disguise of Don Alonso, a music teacher with a voice that sounded amazingly like nerdy Jerry Lewis's professor character in "The Nutty Professor".  Not only did this tenor render a superb bel canto performance last night, but he showed he was capable of laughing at himself and making us laugh while still managing to "sing" and project forcefully, even while in his Alonso character.  Great job!  The role of Don Basilio, the real music master, was sung impressively by basso Constantine Dinev.  It's nice to hear the bass voice used as Rossini scored it here - given a meaty part to sing and part to match.  Mr. Dinev's bass is rich and capable, smooth and balanced and sufficiently basso cantante, not buffo, that we wanted to actually hear more.  Well done.  We leave mezzo-soprano Viara Zhelezova for last, because she was first in the hearts of the audience, singing the role of the much sought after Rosina.  Ms. Zhelezova's voice is like the dawn is to darkness.  It arrives and makes its presence known in the subtlest of ways so that when she sings, the sound arrives and announces itself present, and from there, pure artistry flows - as it did last night.  The technical requirements of the vocal instrument for Rossini works is found in the way Rossini wrote his arias.  They are precise and require fluidness and considerable flexibility and vocal control.  Last night Ms. Zhelezova demonstrated her artistry in a performance that was in total control and thus a joy to behold.  Brava for a job well done.  As noted this was a fine ensemble cast all around.  Kudos go out to Ana Petrova (Berta), Vladi Hristov (Fiorello), and Georgio Dinef (Ambrogio) for their supportive efforts and for making this presentation such a success.  On the production side the sets and costumes by Valentin Topencharov were traditional, colorful and realistic.  The lighting by Boyukliev was handled well and, in parts, nicely creative lending to the overall effect of the performance and mood.  In sum, Teatro Lirico d'Europa brought home the bacon once again for Boston audiences with a production of Rossini's "il barbiere de Siviglia" that was top notch, colorful, well sung, superbly acted and produced with an eye toward the effect it had on an appreciative audience.  What more can one ask for?"
OPERAONLINE.US - Paul Walkowski - October 2005
 
 

***************************************************

--------------- Fall Tour 2005, Die Fledermaus

Cerritos, CA

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 notes for the 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
 
 
 

***************************************************

Lawrence, Kansas

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 too-tight 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 putt-putted off stage.  Martin Mazik conducted the Sofia Symphony Orchestra and Chorus.  The orchestra of 30 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." 
Dean Bevan - JOURNAL WORLD - October 2005
 

SHOW'S HUMOR IS A PLEASANT SURPRISE

"Opera is an old art form, dating back more than 500 years, older even than the printing press, but it doesn't have to show its age.  It has endured the test of time and still entertains audiences in new ways.  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.  Dr. Falke invites Eisenstein, his wife, Rosalinde, and their maid to a ball that evening to create some tension (even though Eisenstien is supposed to go to jail this very night).  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." 
Laura Parkinson - Lawrence.com ARTS
 

***************************************************
Boston, Massachusetts

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 FLEDERMAUS at the Cutler Majestic Theatre.  A better way to scare up some holiday fun could hardly be imagined.  While traditionally FLEDERMAUS is a staple of New Year's Eve galas 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
 

CZECH OPERA PRAGUE - DIE FLEDERMAUS – BOSTON
OperaOnline.us -- Worldwide reviews for a worldwide audience
Johann Strauss, DIE FLEDERMAUS, Czech Opera Prague, Cutler Majestic Boston, October 28, 2005

"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 - yep -- again by Martin Otava were sumptuous - and these are just initial impressions.  Where to begin? 

First, Kudo's to Teatro Lirico d'Europa for bringing this wonderful ensemble to our attention.  In its eighth season of presenting touring companies to American audiences, Teatro has established itself as a quality company of the first order that, when it raves about a production, it's worth taking note.  I have seen this opera before and always enjoy it for the same reasons.  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.  Consider this: "Die Fledermaus" was first performed in 1874, yet when it is performed today, audiences can't resist its allure, its humor, its elegance and musical genius.  How much of what we see today will outlast its own season, let alone centuries? 

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 -- and for many, will be the new standard by which they will measure future performances by others that follow. 

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 flirtatious 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.  Bravo! 

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 too "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 - Paul Walkowski - October 2005
 
 

CZECH OPERA PRAGUE - DIE FLEDERMAUS – DAYTONA BEACH, FLORIDA
   
SYMPHONY SOCIETY SERVES UP TREAT
"The Symphony Society's Daytona Winterfest served up a fluffy, flaky confection Saturday 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 outstanding performances, particularly German soprano Geb's vibrant impersonation of a Hungarian singer and mezzo soprano Viara Zhelezova as elegant Prince Orlofsky.  Other standouts were solos by dancers from the Ballet Arabesk and just about everything by Czech soprano Klamova-Janotova as the saucy self centered Adele."  
DAYONTA BEACH NEWS JOURNAL - Jan. 2006 -- Peabody Auditorium, Daytona Beach, FL