Musical Mixed Bag Coming Season of Washington Opera Has Range of Offerings by Gary Tischler The 2003-2004 season of The Washington Opera consists of a smorgasbord of offeringsófrom the zesty sophistication of Old World Vienna to the dark forests of Gaul, to the even heavier fare of Wagner, which gives the first part of the season a distinctly Germanic feel. Styles of a different sort take flight in the second part of the season, beginning with tragedy, moving to a variation of the Cinderella story, then a classic, star-crossed opera, and ending with the sweaty, stark environs of New Orleans and the clash of two American sensibilities. In other words, opera lovers should gear up for many treats this year. The 48th season begins Sept. 6 with the most gem¸tlich of works, ìDie Fledermaus,î the quintessential work of Viennese sophistication set to the tune of Johann Strauss II, the waltz impresario. Thereís probably no more festive way to begin the season than with ìDie Fledermaus.î Only ìThe Merry Widowî by Franz Lehar can match its vivaciousness, flirtatious sophistication, bubbling energy and witty, smooth music. Itís as if Strauss found a way to give his transporting waltz melodies a certain edge, whirl ing them into plots and subplots almost against their will. ìDie Fledermausî has the kind of waltz music that shed some of the more formal weight of the Blue Danube style and added some giddiness and sexiness, partly in response to a changing Viennese society. Like certain Viennese food, desserts and coffees in particular, waltzes are an acquired taste that can, if overindulged, lead to a sleep-inducing heaviness. But at the right speed and the right setting, waltzes from Vienna by way of Strauss can be intoxicating, a kind of musical opium that takes you away. ìDie Fledermausî also has a plot that satisfies the silly conventions of operettas and the flow of waltz music. German baritone Wolfgang Brendel stars as Baron Von Eisenstein, who, while on his way to jail for contempt of court, finds time to go to Prince Orlofskyís masquerade ball for a little flirting. There he finds the Hungarian countess Rosalinde and is instantly smitten. Rosalinde, however, is Baron von Eisensteinís wife, which makes you wonder about the character of a man who falls in love with his wife without knowing it. Soprano June Anderson plays Rosalinde. Also in the cast is Elena Obraztsova, who was the countess in last seasonís ìQueen of Spades.î Washington Opera Music Director Heinz Fricke conducts. Oct. 7 marks the premiere of ìNorma,î Vincenzo Belliniís Bel Canto masterpiece. Set in Gaul, the tale centers on Norma, a high Druid priestess who falls in love with a Roman who ultimately betrays her. Rage and passion, sung by Armenian soprano Hasmik Papian as Norma, naturally ensue. Emmanuel Villaume, who conducted last yearís feverish production of ìLucia di Lammermoor,î returns for what is sure to be a stirring production. The company gets Germanic to the core beginning Nov. 5 when it tackles Richard Wagnerís ìDie Walk¸re.î Pl·cido Domingo, who was recently named general director of The Washington Opera, heads up the story of Siegmund and Sieglinde, whose incest and adultery enrage both the gods and Sieglindeís cruel husband, Hunding. These first three productions will be performed at the Washington Operaís temporary digs at the DAR Constitution Hall. In March of 2004, the company returns to the Kennedy Centerís refurbished Opera House with four more productions, beginning with Giacomo Pucciniís tragic and wondrously beautiful ìManon Lescaut,î conducted by Domingo, which will be followed by Gioacchino Rossiniís ìLa Cenerentola,î a slightly different but very operatic version of the Cinderella story. Next on the lineup is Giuseppe Verdiís tragic ìLa Traviata,î set in the decadent world of 19th-century Paris, followed by the season-ending ìA Streetcar Name Desire,î Tennessee Williamsís sultry play transformed by conductors AndrÈ Previn and Federico Cortese for the East Coast premiere. For more information on The Washington Opera 2003-2004 season, please call (202) 295-2400 or visit www.dc-opera.org. Gary Tischler is a contributing writer for The Washington Diplomat.