By Nathalie Plotkin

This production of “Die Fledermaus” truly offers a rare opportunity to have an unusual, high quality and enjoyable musical and theatrical experience.

In a sumptuously costumed, semi-staged and brilliant performance of Johann Strauss’ superb operetta, the stage of Carmel’s Sunset Center was replete with excellent principal singers, a chorus of revelers and the full Monterey Symphony Orchestra. This highly ambitious undertaking was expertly controlled and guided by Music Director Kate Tamarkin who presided masterfully with great polish and an often-enchanting sense of humor. The orchestra responded with spirit and precision and a large audience awarded them all a standing ovation after the effervescent finale.

Soprano Peggy Die in the show-stopping role of Adele the chambermaid with ambitions of becoming an actress led the sterling cast. She was a center of attention throughout the show with her winsome personality and glistening vocalism, singing with polish, wit and well developed coloratura flexibility. Her jailhouse “talent aria” cataloging her acting and vocal skills brought down the house.

As Rosalinda, the wronged, yet ebullient wife and alluring heroine, Sara Tedesco embodied many moods from pathos to high satire and her Hungarian accent and a rich account of the second act “Czardas” was another high point. .

Tenor Bruce Reed as Eisenstein, the butt of the plot, played his part with a strong sense of comedy. His voice is very fine in tone and timbre and he uses it most generously. Rival tenor Steven Tharp who tries to disrupt the Eisensteins’ marriage, gets hoist on his own petard, but sounds lovely when showing how irresistible he is, at least musically, to Rosalinda. Mezzo-soprano Erma Gattie was superior in the “pants” role of Prince Orlovsky. Her vocalism was most impressive and her impersonation was perfect.

Robin Buck as Dr. Falke who masterminds the hilarious plot, employed his resonant baritone very effectively, while Kerry Henderson as the jail warden was a very adept, humorous figure supplying yet another fine voice to the mix. His interplay with his tipsy assistant Frosch, a cameo role by stage director Vern Sutton, was well done.

The elegantly costumed chorus, all local volunteers, were outstanding, adding much to the overall success of the undertaking. They were polished partygoers whose spirited entrance to begin the second act created excitement and warmth. They filled several minor roles. Chorus member Lynette Culbert took over the role of Ida at the last minute and did well.

Don’t miss it.

[Nathalie Plotkin holds Bachelor and Masters Degrees in Music and has been writing music reviews for over 20 years]