Evening star., 1951-10-21
~ Music Notes
Anenconized Die FIedernous'
Moves Smoothly and Liohty
By Alice Eversmon


By Alice Eversmon
Washington received the re-
vival of Johann Strauss Die
FledermauS, in its two per-
formances in Constitution Hall
yesterday, with a fair duplication
of the enthusiasm shown at the
Metropolitan Operas perform
ances last winter. The company.
presented under the local man
agement of Patrick Hayes, was
the Thomas Martin Michael
Kuttner production which is be-
ing sent on tour by Sol Hurok
and the National Concert and
Artists Corporation. A sold out
house, with the President and
Mrs. Truman in their box, was
reserved for the evening per-
formance, that of the afternoon
drawing almost capacity
audience.
The Americanized version of
the famous operetta held little of
that difficult define element
called Viennese but its comedy
moved lightly and smoothly in its
English dress. The adaptation is
the work of Ruth and Thomas
Martin who have been able to
write clever lyrics in good English
while adhering as closely as pos
sible in a translation, to the
original text. At the same time,
the enunciation of the English
words by native singers was only
clear now and then and the over
all effect did not do very much
toward deciding the mooted ques-
tion of opera in the vernacular.
Fortunately. most of the humor-
Gus dialogue of Importance did
come over sufficiently to draw
loud and delighted laughter from
the audience.
The first word of praise should
go to James Westerfield and Hans
Sondheimer for the manner in
which they met the difficulties of
staging in Constitution Hall. The
cumbersome curtain, usually en-
'ployed, was not called into serv-
ice. Instead, a decorative arch,
blending with side curtains, made
IA picturesque frame for the set
Itings. The first act, in the home
Iof EisenStein, had gracious fur
lnishings and, if the cramped space
could not be concealed altogether,
the effect was not more crowded
than is customary on this stage.
Ballroom Scene Is Pleasing.
The ballroom scene of the sec
Iond act was greeted with applause.
The slender tall pillars and the
vista of a garden gave the illusion
tof stage depth and a certain de-
gree of elegance. The regular dark
background curtains of the hall
contributed a properly sombre
setting for the prison scene with
no other set pieces needed but
the barred gate and a table. Well
devised lighting added the final
touch to a staging that pleased
more than any other set up for
opera performances in Constitu-
ton Hall.
A capable cast carried the story
along with gusto. The role OF
Rosalinda was sung in the after
noon by Jean Gibbons and at
night by IRA Petina. This was
the only difference of casting in
the two performances with the
exception OF the conductors, Mr..
Martin directing the afternoon
presentation and Mr.. Kuttner
taking the baton at night. Miss
Gibbons, a former WaShingtonian
who studied voice here with
Gretchen Hood, is handsome to
look at and possesses a lovely
voice. She created the character
on sophisticated lines and was
and graceful in her delin
cation. The scenes with Alfred,
taken by Lloyd Thomas Leech,
were played eXcellently. Mr.. Leech
provided one of the finest por-
trayals Of the cast. showing a
marked talent for refined comedy.
He has beautiful, resonant voice
finely suited for the grand opera
phrases he sang occasionally, and
quite capable. in his high zones.
of producing a rapturous effect on
Rosalinde.
Miss Bishop Triumphs.
But Adelaide Bishop, as the
sprightly chambermaid, Adele,
was the star. Her excellent sing
ing and lively acting kept the
pace Of the story accelerating
constantly and after her second
act aria she received an ovation.
The role of Sally. her sister, was
filled capably by Beverly Shearer.
The part of Eisenstein in the
hands Of Michael Bartlett received
rather heavy and formal treat
ment. Earl Redding. the Prince
Orlofsky, had the difficult task of
making that dignitary appear
bored. He achieved this only by
his unsmiling mien and a thick,
bored Russian accent. He came
into prominence, however, in the
famous song "Chacun a son gout." ="
Tom Perkins Frank, the prison
warden, became better and better
as the operetta progressed and he
ended with one of the notable
characterizations of the afternoon.
Both William Shriner, as Fake,
and Howard Fried. as Blind, the
lawyer, gave smooth performances
of their roles.
The real ropoodv tri,Iy,o,,b of fbo