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Die
Fledermaus - Overture
Duration of performance: 8 minutes 1 second |
| Chart of the basic scheme |
The overture is composed in a free classical sonata form, even if one gets the impression of hearing a potpourri. The themes of the whole opus are linked up one with the other.
The introduction of the Fledermaus overture presents the main person of the operetta, i.e. Eisenstein, who is the object of "the Bats revenge". |
| Form scheme |
The formal structure can easily be understood from a chart. |
Bars 1-4 |
In bars 1 and 3 the introduction contains a chromatic head motif, the Eisenstein motif of the ensuing Eisenstein theme in A major. The overture gives the impression of a potpourri but is constructed according to the rules of the classical sonata form as it was developed and perfected by Joseph Haydn. |
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Bars 15-22 |
The Eisenstein theme is taken from the penultimate scene of the operetta, in which Eisenstein, no longer disguised as a notary, states:
"Im the man you were deceiving,
And you lied past all believing". |
Bars 33-39 |
The Eisenstein motif is now replayed in the subdominant key of D major. This is followed by Adeles entrance chords. It is the scene when Adele enters with an open letter and is invited by her sister Ida to Prince Orlovskys palace. |
Bars 41-46 |
The 6 bell strokes are taken from the finale of the 2nd act when Eisenstein and the prison governor - they have made friends during the ball - have to turn up at the prison after a nights revelling: Eisenstein who is beginning to serve his sentence for insulting an official and Frank who is to be there on duty. The text runs as follows:
"Wheres my hat, wheres my hat?
No, I cant be late". |
Bars 50-58 |
Eisensteins question-theme is taken from the penultimate scene where he is disguised as a notary and starts questioning Alfred, Prince Orlovskys music teacher and admirer of his wife Rosalinde with the words:
"Tell me the facts,
Give me the story,
The truth, however gory." |
Bars 75-83 |
The exposition (presentation of the themes) of the Fledermaus overture begins with the "Bat-theme" which must be regarded as the main theme in sonata form. This theme can be heard first in the last scene of the operetta when Eisenstein says:
"What on earth is this about,
Please explain it all to me."
Falke: "All that caused you such alarm,
Was a play - we meant no harm."
Adele, Orlovsky, Alfred, Frank, chorus: "And we all played our parts." |
Bars 125-132 |
The 1st Fledermaus waltz – as regards the sonata form it is the side-theme – is one of the most famous themes of the operetta and is taken from the 2nd act when Prince Orlovsky sings:
"Enough my friends, enough!
Its your turn now to perform.
A sparkling waltz, a glorious sound,
To spin your partner round and round." |
Bars 165-172 |
The passage of the 1st Fledermaus waltz changes over into the theme of the 2nd Fledermaus waltz with all the princes guests singing:
"Oh what a feast, what a night of bliss,
Beauty and wine to breed romance.
If we could waltz through life like this,
Never know sorrow, but love and dance." |
Bars 200-208 |
The closing group of the Fledermaus overture consists of several themes. At first we hear the Rosalinde theme of the romance in minor when Rosalinde takes leave of her husband with the words:
"My happiness is dying,
Ive no more tears to shed.
For eight long nights of sighing
And solitary bed. |
Bars 216-224 |
The Rosalinde theme is continued in the words:
"Across the breakfast table
I see your empty cup.
My coffee Ill pour,
Black and bitter, like my aching heart." |
Bars 227-235 |
The closing group ends with the Cancan-theme of the 1st act in which Rosalinde, Adele and Eisenstein sing:
"Oh dear, oh dear, how sad it is,
Oh dear, oh dear, how sad it is." |
Bars 259-270 |
The development, which is a brief composition, uses theme and motifs of Gabriel Eisenstein.
The recapitulation is composed according to the rules of the sonata form, i.e. the themes occur in the order of the exposition and in the starting key of A major. |
Bars 370-377 |
In the Coda there is a flash-back to "Oh dear, oh dear, how sad it is". |
Bars 385-392 |
The Eisenstein motif which formed the beginning and the centre also forms the sparkling conclusion of the overture. |
Bars 397-409 |
A quick epilogue closes the piece, a comic operetta as it was called by the authors. Many opera directors now use the term "comic opera" on the programme. What would the genre of the operetta be nowadays if the Fledermaus had never been composed? |
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