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A fine singing cast gives creditable performances in Johann Stauss II's most famous operetta, but Paul Curran's updating of Act 2 to 1930s Berlin takes the fizz out of the Champagne.

An enjoyable performance of Die Fledermaus from the West Australian Symphony Orchestra and an excellent cast of singers is somewhat mitigated by the venue, as the celebrated Perth Concert Hall undergoes renovation.

Johann Strauss II's Die Fledermaus, was never meant to challenge grand opera for profundity and Barrie Kosky pokes fun at Viennese high society in his riotous staging. 

A welcome touch of Austrian end of year festivities in Tokyo as Heinz Zednik's popular production of Die Fledermaus is revived. 

Stripping away all the decadence of late-19th century Vienna, Walter Sutcliffe gives Johann Strauss’ operetta an overhaul. 

The Temple of Opera has opened its doors to operetta. For the first time the Teatro alla Scala is staging Johann Strauss' Die Fledermaus.

WNO's excellent revival of John Copley's 2011 staging of Die Fledermaus is a delight. 

Eisenstein is a Tory Minister out of his depth on a European mission. Mischief and fun galore in RCS’s well sung Die Fledermaus, a fitting tribute to Timothy Dean as he stands down as Head of Opera.

Die Fledermaus is full of beautiful music, outrageous situations and lots of comic opportunities. This production captures it all with a contemporary idiom and a Beverly Hills setting.

After a sparkling Act I, energy fades slightly on a sweltering night in London, but Opera Holland Park's Die Fledermaus has a lot going for it.

A disappointing staging for the Jette Parker Young Artists' annual showcase at the Royal Opera House. 

Edmunds Freibergs and Latvian National Opera give us a Fledermaus that's high on style and sheer entertainment, with a notable Adele from Inga Šļubovska.

The Met's brought back its Die Fledermaus set in the turn-of-the-century Vienna in a glittering production with a winning ensemble of singers.

An energetic performance of Johann Strauss' Die Fledermaus, showcased both the work and some very fine young singers.

At the heart of New Opera Singapore is a desire to demystify opera for Singapore audiences. 

Die Fledermaus is as quintessentially Viennese as zithers and Schnitzel. In John Wilson, the Philharmonia and a fine ensemble cast, we should have had all the ingredients for a memorable matinée performance, but a few elements meant the fizz went rather flat.

The production of Die Fledermaus currently onstage at the Lyric Opera is smart, goofy and not too fussed about keeping all its parts under tight control.

This autumn is Strauss and Freud season in London: while the Royal Opera are showing Charles Edwards’s searingly Freudian take on Richard Strauss’s Elektra, ENO have opted for the polar opposite mood with Johann Strauss’s Die Fledermaus: Christopher Alden’s production is just as Viennese, just as laden with dreams and sexuality, but filled to the brim with gags and frivolous decadence.

It’s a curious thing that when operatic characters are drinking at a party, they invariably sing about how nice it is to be drinking at a party – never sports results, or the weather, or how all them bleedin’ ’ungarians are coming over to Austria and taking all our jobs...

It took me a while to warm to director Christopher Alden’s revisionist production of Johann Strauss II’s chestnut and whipped cream torte of an operetta, but gradually the outrageous battiness of it won me over.The story that Alden and his team fashion into a Freudian farce with touches of Bram Stoker goes like this.