Die Fledermaus
By Johann Strauss II Libretto by Karl Haffner and Richard Genée This performance will last approximately 2 hours and 40 minutes, including one 25-minute intermission. Sung in German with English dialogue and SurtitlesTM. Dialogue adapted by Mark Crawford. With the Vancouver Opera Orchestra and Chorus. Scenery & Costumes constructed by Opéra de Québec. Additional Costumes & Scenery built by Vancouver Opera. Additional Costumes Designed by Roberta Doylend.
CAST IN ORDER OF VOCAL APPEARANCE Alfred Owen McCausland Adele Claire de Sévigné Rosalinde Lara Ciekiewicz Eisenstein John Chest Dr. Blind Lyndon Ladeur Dr. Falke Peter Barrett
Frank Giles Tomkins Ida Heidi Duncan Orlofsky Mireille Lebel Frosch Beatrice Zeilinger Ivania Simran Claire
CREATIVE TEAM Dialogue Adapted By Mark Crawford Assistant Director Tayte Mitchell Choreographer Shelley Stewart Hunt Intimacy Director Lisa Goebel Set Designer Julie Lévesque Costume Designer Émily Wahlman Design Consultant Kevin McAllister Lighting Design Gerald King Assistant Lighting Designer Jamie Sweeney
Associate Conductor / Chorus Director Leslie Dala Assistant Chorus Director / Principal Répétiteur Tina Chang Répétiteur Perri Lo Derek Stanyer Stage Manager Michelle Harrison Assistant Stage Managers Emma Hammond Katie Schmidt Apprentice Stage Manager Elsa Orme SurTitleTM Creator Sarah Pelzer Sound Consultant Kate De Lorme
A Message from the General Director and Board Chair
Welcome back to the Queen Elizabeth Theatre! With its huge chorus, rollicking party scene, and rousing songs like “King Champagne,” Strauss ll’s most beloved operetta is the perfect way to pop the cork on our celebratory 65th anniversary season. An audience favourite since its 1874 premiere, Die Fledermaus remains the most-performed operetta in the world for good reason. The vaudeville and farce-inspired masterwork revels in effervescent odes to drinking, dancing, laughing and loving, while a madcap plot pinballs through masquerade and mistaken identities, romantic dalliances, pranks, and payback. We’re excited to sit back and listen as Maestro Jacques Lacombe, an avowed Strauss aficionado (a Straussie, perhaps?), takes us into the boisterous heart of an operetta that deftly draws polkas, waltzes, and other popular song forms into its deceptively sophisticated score. Director Ashlie Corcoran returns to direct her second VO season opener in a row, having helmed the fantastical The Magic Flute in 2023. We’re excited to have her high-spirited, 1960s-infused take on this comedic gem set the tone for another spectacular season. Speaking of which, now’s the time to get in on the celebrations for the rest of this milestone anniversary season. Tickets for Jonathan Dove’s modern classic Flight and Puccini’s poignant masterwork Madama Butterfly are on sale now. Opt for a two-opera Duet package and you’ll get the best prices, unlimited exchanges, exclusive offers, and—most importantly—two absolutely exceptional opera experiences. We’re delighted to launch this extra-special anniversary season with an operetta that radiates charm, wit, and good natured mischief. Let’s all raise a toast to a bright future for opera in Vancouver, built on 65 years of visionaries, virtuosos, and vibrant community! Tom Wright, General Director Krista Johanson, Board Chair
Notes from the Conductor and Director
Notes from the Conductor | Jacques Lacombe
The great German composer Johannes Brahms, who for almost 20 years was too intimidated to publish his first symphony, believing that after Beethoven no one could write a symphony, was asked to give his opinion about the Blue Danube Waltz by Johann Strauss ll. His answer: “it is as good as a Beethoven symphony!” In music, as in many other art forms, artists and creators who achieve popular success during their lifetime are often considered in certain “circles” to be producing art of a lower value; art for the masses rather than the “happy few.” Johann Strauss ll, “the king of the waltz,” has long suffered this sort of judgment. He is a composer who managed throughout his career to produce works that garnered immediate popular success, yet he continued to develop his own personal style while bringing traditional dances such as the waltz, the polka and the gallop to a very high level of sophistication. Surprisingly enough, the music of Johann Strauss ll is rarely part of the curriculum of any music program. To be honest, I didn’t know much about it, nor did I pay serious attention to it until I went to study conducting in Vienna in the mid-80s. It was there that I came to understand Brahms’ comment and realized that, as simple as it may seem at first glance, Johann Strauss’ music was complex and tricky if you try to perform it with the right style. This is the approach that my colleagues and myself have been taking in preparation for this production of Die Fledermaus, with the hope that our performance will bring you as close as possible to the heart of Vienna!
Notes from the Director | Ashlie Corcoran
Welcome to our vibrant and playful rendition of Die Fledermaus, where we transport Johann Strauss II’s classic operetta into the lively world of the 1960s. This era, known for its exuberance and style, provides a perfect backdrop for the operetta’s themes of disguise, deception, and playful revenge. Popular references from this period are infused throughout – especially in Act II, where the unknowing players in Falke’s game find themselves at a themed costume party and the stage becomes a lively tableau of 1960s cinema and television characters. At this party there are layers upon layers of disguise and intrigue – heightening the comedic and dramatic elements of the operetta. I am thrilled to collaborate with our amazing musical leader, conductor Jacques Lacombe and his humour, spirit, and precision, as well as our extraordinary cast of singers, whose remarkable talents bring depth and charm to this production. Mark Crawford’s fresh and specific adaptation of the scenes to the 1960s allows for the humour of Die Fledermaus to resonate with a contemporary audience while staying true to its original charm. Choreographer Shelley Stewart Hunt joins us to infuse her trademark wit into the physicality of the world. Together, we aim to create a production that celebrates the essence of Strauss’ operetta and also the energy, distinctive fashion, and iconic pop culture of the 1960s. We hope you enjoy this journey through a playful world of disguise, laughter, and revelry. Thank you so much for joining us!
Synopsis
Act I
At Rosalinde and Gabriel von Eisenstein’s home, the maid Adele asks to leave work under the pretext of caring for her ailing aunt, though she actually wants to join her sister at Prince Orlofsky’s masquerade ball. Rosalinde refuses. Rosalinde’s old flame Alfred arrives and declares his love to Rosalinde, who resists until he begins to sing. Hearing someone approach, she sends Alfred away, but not before he’s convinced her to let him return later. Gabriel and his lawyer, Blind, arrive from court: Eisenstein has been sentenced to eight days in jail for assaulting a police officer and he must begin serving the next morning. Furious, he dismisses Blind. Gabriel’s friend Dr. Falke convinces him to join him that night at Prince Orlofsky’s costume party. Eisenstein agrees, accepting Falke’s suggestion that he bring his famous pocket watch to charm the ladies. While Eistenstein gets ready, Rosalinde receives a party invitation she thinks is from Prince Orlofsky, but is actually from Falke. As her husband departs, she dismisses Adele for the night and receives the ardent Alfred. Their rendezvous is interrupted by the prison warden Frank, who has come to arrest Eisenstein. To preserve her good name, Rosalinde persuades Alfred to pose as her husband, and believing him to be Eisenstein, Frank takes Alfred to jail.
Act II
The party is in full swing. Adele’s sister Ida is worried that Adele isn’t classy enough, so she decides to present her as “Olga,” a Russian actress. Eisenstein enters, posing as a Frenchman. He immediately recognizes Adele, but she denies it. Frank is also pretending to be French, and he and Eisenstein become fast friends. Rosalinde, disguised as a Hungarian countess, sees her husband flirting with Ida and sings an impassioned ode to her betrayed homeland. When a smitten Eisenstein starts flirting with her, she steals his pocket watch. Ivania teases Falke about how he earned the nickname “Dr. Bat.” Champagne flows, and the revellers dance and sing through the night. At dawn, Eisenstein rushes off to jail, as does Frank.
Act III
Frank arrives at the prison, still buzzing from his evening spent at the party. Frosch, the jailer, is annoyed by her boss’ late arrival, and by the nonstop singing of Alfred in the cell. Ida and Adele arrive, and Adele hopes Frank can further her stage aspirations. Frank sends them off and receives Eisenstein, who’s surprised to learn his cell is already occupied by a man claiming to be him, and who was found in his home with Rosalinde. The lawyer Blind arrives, saying he was summoned to handle a false arrest case. Determined to get to the bottom of things, Eisenstein disguises himself as the lawyer to confront the impostor. Rosalinde rushes in. She tries to secure Alfred’s release, asks “Blind” to press divorce charges against her wayward husband, and is upset when the “lawyer” seems to take Eisenstein’s side. Removing his disguise, Eisenstein accuses his wife of promiscuity. Rosalinde produces his watch, revealing that she was the “countess” he tried to seduce. Falke arrives with partygoers and triumphantly explains that the whole evening was payback for Eisenstein’s previous practical joke. Eisenstein begs Rosalinde to forgive his attempted infidelity, blaming his misbehavior on the party’s plentiful champagne. She refuses at first and threatens divorce, before forgiving him. After a night of merry mischief, all sing a final ode to the joys of champagne.
Tickets
Cast | In Order of Vocal Appearance
Creative Team
Watch, Listen, Discover

The Art of Letting Go
Mireille Lebel's Fearless Approach to Opera.

Opera Comics
The Batman Issue. The absurdities of Die Fledermaus (The Bat) captured in comic form by the imaginative Amy Fielder.

The Plot Unmasked
Pranks and Revelry in Die Fledermaus.

Opera in a Nutshell
Crack open Strauss' Die Fledermaus!

DANCING IN DISGUISE
The Art of Deception by Ashley Daniel Foot.

Study Guide
Learn more about Strauss ll and Die Fledermaus with our Study Guide.
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Orchestra, Chorus, and Production
Orchestra
FLUTE Brenda Fedoruk, Principal Anne-Elise Keefer PICCOLO Anne-Elise Keefer OBOE Emma Ringrose, Principal Erin Marks CLARINET Christopher Lee, Acting Principal Yen-Han Chen BASSOON Ingrid Chiang, Principal Allan Thorpe HORN Laurel Spencer, Principal Nick Anderson Heather Walker Lyne Santamaria TRUMPET Katherine Evans, Principal Nikolaj Hansen TROMBONE Jeremy Berkman, Principal Jim Tranquilla BASS TROMBONE Graham Middleton HARP Janelle Nadeau, Principal TIMPANI Phillip Crewe, Principal PERCUSSION Julia Chien, Principal Lauri Lyster Len Pearson VIOLIN I Mark Ferris, Concertmaster Angela Cavadas, Associate Concertmaster Lawrie Hill Rick Dorfer Heilwig von Koenigsloew Ken Lin Ellen Farrugia Evelyn Creaser-Rumley Sarah Westwick Hyunjung Julia Lim VIOLIN II Rebecca Ruthven, Principal 2nd Andrea Siradze, Assistant Principal Domagoj Ivanovic Ji In Kim Petro Krysa Adrianne Stride Toni Stanick Sandra Fiddes VIOLA Tawnya Popoff, Principal Isabelle Roland, Assistant Principal Marie-Claude Brunet Reginald Quiring Mila Tymoshenko Roxi Dykstra CELLO Rebecca Wenham, Principal Heather Hay, Assistant Principal Susan Round Ashton Lim Harold Birston BASS Maggie Hasspacher, Principal Michael Vaughan, Assistant Principal Meaghan Williams Remi Yueming Xia Orchestra Manager Nick Anderson Orchestra Stage Manager Jim Tranquilla Orchestra Librarian Meaghan Williams
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SOPRANO D’Arcy Blunston Rebecca Collett Eve-Lyn de la Haye Allyson Hop Aviva Lacterman Heather Pawsey Szu-Wen Wang Karen Ydenberg MEZZO-SOPRANO Francesca Corrado Brenda Glass Martina Govednik Lisa-Dawn Markle Heather Molloy Megan Morrison Elena Razlog Dionne Sellinger TENOR Callum Alden DJ Calhoun William Grossman Adam Kozak Brent MacKenzie Wade Nott Mark Pepe Don Wright BASS/BARITONE Angus Bell Henry Chen Jason Cook Glenn deVerteuil Dean Giustini Willy Miles-Grenzberg Zainen Suzuki Philip Wing VO celebrates our talented colleague, tenor John Arsenault, who passed away unexpectedly October 4, 2024. John was a beloved member of the VO chorus for 13 seasons and performed supporting roles in numerous productions with us, including Aida, Norma, Salome, and Tosca. In recent years, John took up the baton as conductor and musical director for several local opera and musical theatre companies. In all that he did, John was known for his sharp wit and kind, generous spirit. We will fondly remember his deep impact on our musical community
Supernumeraries
Justin Daniels Gabriel Eum Danica Kobayashi Nicole Laurent Monica Munn Sarah Shepherd
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Director of Artistic & Production Nicole Lamb Company Manager Kewen Huang Technical Director Jon Mottram Head of Properties Stephen Field Elgar Assistant Properties Jesse Orr Head Scenic Carpenter Vince Folgizan Welder Philip A. Piper Head Scenic Painter Omanie Elias Production Assistant Jimena Pacheco Production Make-Up Michael Croteau Production Hair & Wigs / Wig Designer Donnie Tejani Head of Wardrobe Roberta Doylend Wardrobe Assistant Lily Yuen Stitchers/Cutters Jayme Cline Sarah Marchant Victoria Klippenstein Stephanie Kong Audrey Nishi Production Carpenter Dale Baratelli Production Electrician Anna-Lena Steiner Show Crew Andie Mei Fong Ho Bob Bancroft Carlos Avila Carolyn Reemeyer David Raun Edward Lazenby Joel Johnson Kate Rittenhouse Mark Ransom Martin Argus Mike Phelan Oriana Camporese Phil Schulze Saghar Bazargan Sarah Marchant Tony Brackstone Vancouver Opera recognizes and thanks Big Wave Dave for 20 years of working together. You are an important part of VO’s crew history! THANK YOUS IATSE 118 Vancouver Civic Theatres
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Chair Krista Johanson Vice Chair Stanis Smith Treasurer Roger Flowerdew Secretary Andrea Wood Susan Van der Flier Human Alghabi Jennifer Choi Shaun Dolman Gagan Grewal Joshua Hutchinson Kevin Kelly Kirk LaPointe Pierre Lebel Ivor Luk Emily MacKinnon Jennifer Muench Richard Rees Chloe Sauder Isabelle Spothelfer Carol Tsuyuki Wilson Williams Andrea Wood President, Vancouver Opera Guild Jennifer Coté
Vancouver Opera Foundation Board of Trustees
Chair Richard Rees Treasurer and Secretary Jim MacCallum Past Chair Paul McEwen Jill Bodkin Jake Boxer Neil Carnell Geoff Dodds Roger Flowerdew Yuri Fulmer Emily MacKinnon Kevin Mah Nevada Mohammed Jennifer Muench Susan Van der Flier
Vancouver Opera Staff
General Director Tom Wright Music Director Jacques Lacombe Music Director Emeritus Jonathan Darlington Director of Marketing Jonathan Harrison Director of Development Kayleigh Harrison (On Leave) Director of Artistic & Production Nicole Lamb Director of Finance and Administration William Murgatroyd Director of Engagement and Civic Practice Ashley Daniel Foot ARTISTIC PLANNING Company Manager Kewen Huang Head of Music Leslie Dala Coach/Répétiteur Tina Chang Preparatory Librarian Connie Goetz PRODUCTION Technical Director Jon Mottram Production Assistant Jimena Pacheco Head of Properties Stephen Field Elgar Head of Wardrobe Roberta Doylend DEVELOPMENT Interim Director of Development Bella Best Senior Manager, Grants & Sponsorships Kseniia Gorlevaia Senior Manager, Individual Giving Rebecca Paterson Administration Assistant Rilee German-Martinez FINANCE AND ADMINISTRATION Accounting and Payroll Manager Sonny Sohn Office Services Manager Jennifer Pipe Facilities Manager Mack McGillivray MARKETING Creative Director Annie Mack Senior Marketing Manager Keltie Laidlaw Database and Ticket Centre Manager Tracey Flattes Ticket Centre Associate Charlene Hibbard Social Media Specialist Lucas Bertoli Senior Communications Advisor Stephen Lyons Publicist Cynnamon Schreinert Program Ad Sales Jennifer Lee Graphic Designer Yvonne Olivotto ENGAGEMENT AND CIVIC PRACTICE Senior Teaching Artist Eve-Lyn de la Haye Teaching Artists Tabitha Brasso Ernst Nicholas Burns Holly Collis Handford Kris Epps Researcher and Writer Jane Potter Audio Producer Mack McGillivray Coordination Vincent Huynh YULANDA M. FARIS YOUNG ARTISTS PROGRAM Program Director Leslie Dala Coach Tina Chang Heidi Duncan, Soprano Simran Claire, Mezzo-Soprano Lyndon Ladeur, Tenor Danlie Rae Acebuque, Baritone Derek Stanyer, Pianist Tayte Mitchell, Stage Director
Thank you to
Our sponsors
2026–2027 Season Artwork Art Director: Annie Mack | Photographer: Deanna Milligan | Lighting: Ramsey Fendall | Models: Okwukwe Oji, Ivan Engel Larrain, Tiffany Bailey | Lead Stylist / Costume Design: Lisa-Marie Read | Prop Stylist: Rosie Schinners | Makeup Artist: Melody Attrill | Hair Stylist: Ysabella Branker | Photographer’s Assistant: Emanuel Foucault | Assistant Post Production: Akeem Nermo | Production Assistant: Sadie Mack






















































