Witty, fun, intoxicating film of Johann Strauss II's popular operetta, based on a stage production from Vienna State Opera; this is a showcase for the entire cast, but most especially Eberhard Wächter as the insufferably boorish Gabriel Eisenstein, and Gundula Janowitz as his long-suffering wife. Open the champagne, have yourself some torte, and enjoy this delectable comedy from Vienna.

Most opera houses ring in the New Year with Johann Strauss Jr.'s most popular operetta--the festiveness of which is appropriate for the occasion--and this December 31, 1983, Covent Garden performance follows suit. An exceptional cast--led by Hermann Prey and Kiri Te Kanawa as the couple whose marriage survives the comic indiscretions of three long acts--obviously has as much fun as the audience. Plácido Domingo leads the Orchestra of the Royal Opera House through its paces with panache. Prince Orlofsky's Act II party is always a splendid opportunity to pull out all the stops with surprise "guests," and this performance makes the most of its chance: entering the proceedings to sing one of his tailor-made chansons, "She," is French crooner Charles Aznavour, who is followed by dancers Merle Park and Wayne Eagling, their delightful pas de deux flashily choreographed by Sir Frederick Ashton.

Live performance from the Metropolitan Opera, 31 December 1986.

After the Viennese premiere, the Fledermaus (the bat) conquered the world. It is one of the few operettas that are regularly performed at the major opera houses such as the Metropolitan Opera, the Scala Milan, the Vienna State Opera and the Royal Opera House Convent Garden in London. John Cox directed this lavishly equipped production by Julia Trevelyan Oman initially in London in 1977. On New Year's Eve 1990, this staging offered the luxurious ambiance for the farewell to Joan Sutherland from her London audience. The singer had admired them since her first great success at this prestigious opera house in the fifties. The rushing feast in the second act reached its climax with its stormy cheered performance and the commitment of her friends and colleagues Luciano Pavarotti and Marilyn Horne, with whom she often stood together on the stage.

To avoid serving his prison sentence, a fashionable socialite sneaks off to a lavish party. The champagne flows as guests waltz the night away, but several of them have something to hide. This internationally renowned production by Otto Schenk takes the audience on a bumpy ride through all kinds of intrigues, clothing mix-ups and mistaken identities, until we finally reach a rather hung-over happy ending. Conducted by Franz Welser-Möst and streamed on Strauss’ birthday, this performance is part of OperaVision’s events celebrating the inaugural World Opera Day on 25 October 2019.

If there has been an "edit" somewhere on the music theatre scene since the dawn of the new millennium, which has been noted by the chroniclers as a tangible scandal - then the Salzburg festival production of the operetta "The Bat" by Johann Strauß, staged by Hans Neuenfels. Neuenfels, born in Krefeld in 1941 and long known as the "enfant terrible" of the theatre scene, was not the first within the reception history of the "bat" who dared to scratch their paint. This time there was not only an unconventional direction, but also serious interventions in the libretto. Neuenfels has written new dialogues, incorporating texts from other authors: Karl Kraus, Gottfried Benn, Hugo Ball. Conductor is Marc Minkowski.

Intrigue, champagne, and irony: in a production directed by Barrie Kosky, the Bavarian State Opera presents a sparkling production of Johann Strauss II's Die Fledermaus.

When Ambrosia, the pastor's cook, leaves the village for a while to give birth to the child she is expecting from the pastor in a secluded place, the buxom and love-struck Irma takes her place in the parish. And soon she too is looking forward to the joys of motherhood. But who is the father of the child? The curate she seduced, or even the pastor himself...?

A man hires a nurse to care for his ailing but nasty and shrewish sister. What he really intends to do, however, is to convince the nurse to join him in a plot to kill her.

coping with an enormous bill for her mother's chemotherapy, a young woman takes a job as a babysitter. Once there, the 'baby' appears to be an adult psycho who wants to be dressed as a baby.