[Met Tour] CID:161830



Die Fledermaus
CBS Television Studio, Manhattan, New York, Sun, February 1, 1953 Matinee Telecast Telecast


Debut : Zachary Solov


In English



Die Fledermaus (53)
Johann Strauss II | Karl Haffner/Richard Genée
Rosalinde
Brenda Lewis

Eisenstein
Charles Kullman

Adele
Lois Hunt [Last performance]

Alfred
Thomas Hayward

Prince Orlofsky
Jarmila Novotna

Dr. Falke
John Brownlee

Dr. Blind
Paul Franke

Frank
Hugh Thompson [Last performance]

Ida
Suzanne Ames

Frosch
Jack Mann

Dance
Rex Cooper

Guest Artist
Zachary Solov [Debut]


Conductor
Eugene Ormandy [Last performance]





This performance was telecast from a CBS studio as part of the Omnibus series. The Garson Kanin production was adapted for television by Herbert Graf and Bob Banner. Solov played the part of a CBS Call Boy.

Review 1:

Review of Jay Harrison in the Herald Tribune
‘Fledermaus’ on TV

First Perfomance in Studio y a Metropolitan Cast

Johann Strauss operetta, “Die Fledermaus,” in a special television version, was presented yesterday afternoon by the Metropolitan Opera Company in conjunction with “Omnibus,” a program regularly seen on Sundays over Channel 2 from 4:30 to 6pm. It was the first time that the company performed in a television studio, and the first time also that the Met adapted a work to meet the especial demands of the television medium.

Eugene Ormandy conducted the Kanin-Dietz translation and the cast included Brenda Lewis, Lois Hunt, Charles Kullman, Hugh Thompson, John Brownlee, Jarmila Novotna, Paul Franke, Thomas Hayward, Suzanne Ames and Jack Mann.

As tailored for TV, “Fledermaus” cut a fine figure. In trimming its length to an hour and a half, Jon Gutman has successfully preserved its plot-line continuity. And enough of its champagne-flavored music was retained to provide a liberal taste of the score’s unique and effervescent qualities.

At the onset Alistaire Cooke, “Omnibus” master of ceremonies, briefly discussed the operetta’s early history, and as the overture was played a camera – entering the various dressing rooms – introduced the cast. This was followed directly by the shortened version.

A condensation made possible, in the main by cutting all but a single verse of each aria. In its visual essentials, however, “Fledermaus” differed not a great deal from the Met’s sumptuous stage production. The first act drawing-room set and the second act ballroom scene were almost exact replicas of the opera house originals. And this was all to the good, since Rolf Gerard’s decor is in every way appropriate and spectacular.

This writer, untrained in television technique, cannot comment with assurance on the validity of yesterday’s video methods. To him they seemed shipshape and flexible. The camera eye focused where it belonged and the singers had obviously been trained to observe the requirements of continual close-ups. There was no mugging, no beating of the breast; and for these reasons “Fledermaus” moved with a spontaneity and grace it does not always possess at the Met itself.

The singing of the entire cast was commendable if not dazzling. Lines were clearly spun out, pitches were neat and the enunciation of all concerned was first rate. It made, in sum, a ringing and joyous “Fledermaus.” Even better, —it made a television broadcast of which the Met may rightly be proud.


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