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The review is in

The funny opera: A silly and sumptuous Die Fledermaus shows HGO isn't afraid to laugh

Theodore Bale
Oct 27, 2013 | 9:58 am

Lusty, laughable, even licentious, Johan Strauss II’s Die Fledermaus is an operetta everyone should put on their bucket list. Houston Grand Opera’s second production of the season has its highpoints, to be sure.

At other times it has trouble taking off, making it seem a bit more like Deflated Mouse.

If you’re not into the late 19th century Viennese “life is short, so drink plenty of champagne” sensibility, blended in this production with Richard Roberts’ impressive American 1930s Chrysler Building noir ambiance (the best way I can describe it), this might not be the operetta for you. If you’re willing to relax and let those endless waltzes kind of wash over you, however, you might understand the merits of this popular oddity.

There is some inspired singing, particularly from Liam Bonner, whose pretense of being French is one of the funnier things you’ll witness in HGO’s season.

It’s great to see that HGO is giving plenty of attention to choreography. Last week’s Aïda featured elegant ballets by Dominic Walsh. This Fledermaus has several impressive spectacles by choreographer and associate director Daniel Pelzig, including a grand waltz, a camp Hungarian bellhop csárdás, and a sweeping Astaire-and-Rogers routine danced confidently by Philip Broomhead and Krissy Richmond. These were, for me, some of the finest moments of the evening.

And there is some inspired singing, too, particularly from baritone Liam Bonner as Eisenstein, whose pretense of being French is one of the funnier things you’ll witness in HGO’s current season. Just as humorous is tenor Anthony Dean Griffey as Alfredo (a far, far cry from his terrifying portrayal of the lead character in HGO’s Peter Grimes) and baritone Samuel Schultz as the conniving yet ever-elegant Dr. Falke.

It is frustrating, though, that Houston Grand Opera has not resolved the microphone problems the company had with last year’s production of Show Boat. The written program indicates that “electronic sound enhancement is used only with spoken dialogue,” or for musicals, or at the composer’s direction. This production of Die Fledermaus, however, requires a kind of constant calibration by listeners.

The amplified dialogue is often unintelligible (at least from where I was sitting, in the center orchestra) and when the un-amplified singing proceeds, it is necessary to read the super-titles if you want to know the text. I looked down a few times, to see if I could understand it without reading, and it was challenging.

Call me crazy, but I don’t believe English-speaking viewers should require super-titles for texts being sung in English. This is never a problem at Theater Under the Stars. Why should an operetta be any different?

Don't Leave

Another problem is the English singing translation by David Pountney and Leonard Hancock, which gets old really fast. The hokey rhyming includes exclamations like “You got what you deserve! You have an awful nerve!” and “Why waste your precious voice? You have no other choice.”

By the end of the first act, the prosody descends to clumsiness. “Does the situation here, appear to you not quite clear?” By the third act, it’s simply maddening.

Not everyone could sit it out. I noticed that the row where I was seated, Q, was nearly empty by the third act. This is really too bad, since the act contained what might be the most amusing anachronisms and best additional dialogue by director Lindy Hume. HGO even pokes fun at itself here. “Who the hell is Peter Grimes? " asked actor Jason Graae as Frosch.

Call me crazy, but I don’t believe English-speaking viewers should require super-titles for texts being sung in English.

The orchestra briefly inserted the march from last week’s Aïda into the score, along with Take Me Out to the Ball Game, and Alfredo sang a bit of an ode to Dolly Parton with his impromptu rendition of Nine to Five.

The women in the cast didn’t really shine in Friday's opening night. Soprano Wendy Bryn Harmer was Rosalinde. Aside from that, I don’t have much more to say about her.

And I suppose I’m just one of those opera-goers who cannot “get” Susan Graham, a singer some fans would elevate to the god realm. In previous seasons, I neither appreciated her lukewarm performance in Handel’s Xerxes, nor her stormy portrayal of The Composer in Ariadne auf Naxos. As Prince Orlovsky, her slapstick in the À chacun son goût aria isn’t bad, but it’s hard to tell if she’s channeling Marlene Dietrich or just letting the costume do the work. The aria is one of the great ironic anthems of polyamory. Friday night, I noticed the dancing boys around Graham more than her interpretation of the song.

Soprano Laura Claycomb, as Adele, was as unremarkable as she was in HGO’s 2011 Ariadne auf Naxos. Most of the time it sounded as if she had a toaster cozy over her head, giving her the effect of being continuously muffled. This might have been a problem of shifting between amplified speaking and the traditional projection of singing.

Austrian Thomas Rösner, making his HGO debut, is the charismatic, hair-flinging conductor who kept the whole thing on course while managing to pull a vivid performance out of the orchestra musicians.

Susan Graham as Prince Orlovsky in Houston Grand Opera's production of Die Fledermaus

Houston Grand Opera Die Fledermaus October 2013 Susan Graham, Prince Orlovsky
Photo by © Felix Sanchez
Susan Graham as Prince Orlovsky in Houston Grand Opera's production of Die Fledermaus
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best july art

MFAH celebrates America 250 and 7 more must-see art openings for July

Tarra Gaines
Jul 7, 2026 | 2:00 pm
​Orkhan Mammadov’s “Visions” at Art Club
Photo courtesy of Art Club
Orkhan Mammadov’s “Visions” at Art Club

The middle of summer is traditionally a time for Houston art galleries, museums, and institutions to take a bit of a breather, allowing art lovers a chance to catch up with spring exhibitions in cool art spaces. But this July keeps the art openings coming as the month brings several celebratory shows and intriguing exhibitions of local artists. Let’s enjoy a sizzling summer of art as the MFAH honors our nation’s big 250; Art Club unveils a new lineup of exhibits; and Avenida Houston expands our art horizons.

Art Club’s New Season at POST (ongoing)
When Art Club, the immersive space and DJ venue opened over a year ago, it promised Houston art lovers and club goers this techno art museum would continue to change and evolve over time with new artists and large-scale installations. Now with 12 fresh, radical, and cutting edge, gallery-sized works for the summer, it has certainly delivered on that promise. Created by individual artists, collectives, and international design studios, the new exhibits send visitors into kinetic light space and beguiling soundscapes. Many of the installations merge ancient cultures and practices with some of the most high tech art mediums, taking visitors into a different strange, alien world with each gallery, but ones that always echo with human connection.

One highlight of the new season is Lina Dib’s “Here and Now,” where beautiful yet eerie flower descend from a darkened sky, blooming to a soundscape of migratory bird sounds made by human immigrants to Houston. Art Club’s mirrored "infinity room" gets a new resident in Orkhan Mammadov’s “Visions,” which merges a thousand years of art history with machine learning.

Light artist Sasha Kojjio processes large bodies of text through sorting and generating algorithms, spinning the results into light until meaning dissolves and only movement remains. For Sphere³ II, international design studio Radugadesign, explores ancient Greek geometry through light, mirrors, and sound, creating an object that feels as if it could transport humans across space and time.

“This season, we’ve continued to bring new media art from around the world to Houston with digital art ranging from the Islamic world to the Incan traditions of the Andes,” said Kirby Liu, founder and curator of Art Club Houston and managing director of POST. “The theme is the conviction that the binaries we use to see the world – whether analog versus digital, human versus machine, or tradition versus technology – are no longer doing the work we ask of them.”

“Horizon” at The Plaza at Avenida Houston (now through September 7)
Outdoor art gets expansive with these new interactive installations set between George R. Brown Convention Center and Discovery Green. Created by acclaimed multidisciplinary artist and set designer, Olivier Landreville, in collaboration with sound and light designer, Serge Maheu, “Horizon” invites Houstonians to take a seat inside these domed art structures and contemplate the sculpted skies. Gently rocking the chairs within the pieces will trigger a series of light and soundscapes.

Houston First Corporation has partnered with international public art producers Creos and Init to present Horizon with the hope it gives Houstonians and all the national and international visitors we’ve had this summer to slow down, unwind, and enjoy one of our favorite community spaces.

“George Washington: America's Enduring Icon” at Bayou Bend (now through November 22)
The MFAH celebrates America's first president with this fascinating decorative art exhibition at its Bayou Bend house museum. “Enduring Icon” includes objects from the 18th, 19th, and 20th centuries featuring images of George Washington during his lifetime, as well as many that mourned or honored him after his death. The exhibition examines the many ways that Americans have recognized, honored, celebrated, memorialized, and appropriated Washington as both a man and icon.

“America 250” at the Museum of Fine Arts, Houston (now through January 3)
The 4th of July might have passed, but Houstonians and visitors from around the world can continue to celebrate the United States’ 250th birthday by taking this special marked journey through the MFAH. Instead of a contained exhibition, museum curators have chosen over 70 artworks from the collection across the campus to tell a uniquely American story through art.

From golden antiquities to Native American pottery to vast painted landscapes to large-scale installations of futuristic cities, these pieces reflect the complexity and diversity of the American experience, while drawing connections between our nation and the MFAH's history as a collecting institution. As visitors explore the museum, indoors and out, they’ll find guides to the artworks, along with newly created audio stops and labels that discuss each artwork from these historical and cultural perspectives.

"On the occasion of the nation’s 250th anniversary, we saw a singular opportunity to look at our collections and select objects that reflect the multitudes of individuals who have contributed to the identity of our nation,” describes MFAH director, Gary Tinterow. “The curators’ choices will allow our visitors to experience our collections framed within a series of illuminating and sometimes surprising narratives.”

"Representation of Form" at MATCH (July 9-12)
Photography and choreography dance together as Group Accord and photographer Christopher Peddecord collaborate in the creation of this multidisciplinary art event. Peddecord has taken photographs of Group Acorde dance artists and layers the images with one another. Those photographs will then be displayed and projected throughout the MATCH Box 1 space. During live performances, the dancers will move within the images of themselves. Audiences will also be free to move about the space, immersing themselves within the installation.

“Casa de Cultura: The Living Archive” at the Fresh Arts Gallery in Winter Street Studios (July 9-August 22)
Fresh Arts’ ongoing Space Taking Artist Residency invites traditionally underrepresented local artists to experiment and “take over” Fresh Arts’ gallery space at Sawyer Yards. The initiative has produced some stunning and surprising artwork and live performance experiences over the past few years.

For “Casa de Cultura,” Violeta Alvarez, an award-winning local photographer, will present work inspired by her mother’s life and journeys. Alvarez will create a “Living Archive” exploring cultural identity, migration and collective memory. The project will feature two photography exhibitions: one a curated selection of Alvarez’s music photography, including her early work with Justice Records, and the second built entirely from open-call live portrait sessions of individuals with ancestral ties to Mesoamerica. Several live events and performances will take place throughout the residency, including community photo sessions, panel discussions, a podcast recording, Aztec dance performances, Chicanx artist vendors for Second Saturdays, and community drives.

"World of Color” at Laura Rathe Fine Art (July 16-August 14)
This exhibition brings together a group of artists working in different mediums and producing very distinct imagery, but all their art explores vivid colors and manifests a sense of wonder and play. "World of Color" explores color as both a meaningful and nostalgic force, brought to life through Miriam Fitzgerald’s intricately folded paper, Gian Garofalo’s flowing stripes of pigmented resin, Pablo Dona’s miniature figures swimming within teacups, and Lynn Sanders' layered colorscapes. Exhibition organizers note that through curious and intuitive explorations of color, each artist engages with combinations that create a childlike sense of discovery.

"Learning Curve 18” at Houston Center for Photography (July 16-August 16)
This annual exhibition celebrates the HCP students’ work over a given year, and for the 18th iteration, the exhibition will showcase students from various programs at the Center doing a range of photographic work from digital to alternative processes. Jessi Bowman, the Houston-based photographer, curator, and founder of FLATS, a community darkroom and photo lab, is this year’s juror. Bowman has intentionally selected pieces exploring photography from a multitude of approaches, subjects, and perspectives in order to create an show that reveals artists working in community.

“As a juror, I was drawn to work that embraced curiosity and possibility. The strongest images often reflected a willingness to take risks,” explains Bowman in a statement about the selections, adding “Many of these photographs show artists pushing beyond technical proficiency toward a more personal visual voice.”

\u200bOrkhan Mammadov\u2019s \u201cVisions\u201d at Art Club

Photo courtesy of Art Club

Orkhan Mammadov’s “Visions” at Art Club

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