Alexandra Mather, left, Olivia Turnbull and Stephanie Wong in York Opera’s Die Fledermaus. Picture: John Saunders
YORK Opera is marking not one but two milestones with John Soper and Elizabeth Watson’s production of Die Fledermaus from tomorrow to Saturday.
This year is the company’s 60th anniversary and the 40th anniversary of its first appearance at York Theatre Royal: hence the summer production choice of Johann Strauss II’s party opera, wherein lavish host Prince Orlofsky seeks fresh amusement at his New Year’s Eve party. What better place for disguises, deception and revenge served with chilled champagne?
On an earlier occasion, Doctor Falke had been humiliated by his old friend Herr Eisenstein, who persuaded him to dress for a party as a bat [Die Fledermaus]. After much amusement and ridicule, eventually he was abandoned to wander the streets of Vienna. Falke plots his revenge with a cocktail of hidden secrets, mistaken identities and a splash or two of champagne that leads to a comedy of errors that soon takes flight. Will the bat be revenged?
Olivia Turnbull and Alexandra Mather will share the role of Rosalinda; likewise, Stephanie Wong and LaLa Marais both will play Adele, after the decision to double cast the principal roles was made in response to the high calibre of talent displayed at the auditions.
Here Olivia and Alexandra a series of questions on being the two faces of Rosalinda in York Opera’s Die Fledermaus.
How would you describe Rosalinda’s character?
Olivia: “She is a glamorous and spirited character who enjoys flirting with her many admirers. She is intelligent and likes to think she can outwit her unfaithful husband.”
Alexandra: “She’s sassy, spirited and more than a little mischievous. She’s intelligent and enjoys staying one step ahead of everyone around her. While she’s quick to challenge her husband’s infidelities, she’s not entirely innocent herself, which gives the character a wonderfully cheeky hypocrisy. She’s fun-loving, free-spirited, flirtatious and full of personality.”
Do you play a different role on the nights when you’re not playing Rosalinda?
Olivia: “No, I will only be performing the role of Rosalinda tonight and on Friday.”
Alexandra: “No. Rosalinda is quite a substantial role, so we’re making the most of our nights off when we’re not performing! That said, I’ll certainly be there watching and cheering Liv on. I’ll be performing the role of Rosalinda tomorrow and on Saturday.”
Have you performed in Die Fledermaus previously?
Olivia: “No, this is my first time performing in Die Fledermaus, but I watched a production at the Royal College of Music, which I really enjoyed.”
Alexandra: “No, this is my first time, although it’s a piece I’ve wanted to do for a very long time. I’ve been familiar with and loved the music for years, so it’s a real pleasure finally to be performing it.”
What’s your big number in the show?
Olivia: “Csárdás, where I am disguised as a Hungarian Countess and am trying to convince the party I am Hungarian through the music of my homeland.”
Alexandra: Like Liv, my showcase number is the Csárdás. However, my personal favourite piece to perform is probably the Watch Duet. I remember seeing a performance featuring Joan Sutherland when I was about 14 and becoming completely obsessed with it. It’s one of the pieces that first sparked my interest in opera, so performing it now feels particularly special.”
Have you worked separately or together in rehearsal?
Olivia: “During rehearsals we would generally run the scenes separately to allow each of us to explore our own ideas and styles, but we have been supporting each other throughout the process, which has been helpful.”
Alexandra: “A bit of both. We’ve rehearsed scenes separately so that we could each develop our own interpretation of Rosalinda, but we’ve also spent a lot of time watching and learning from each other. It’s been a very supportive process, and it’s always useful to have someone nearby who knows your lines when you suddenly forget them!”
What is your history of performing with York Opera?
Olivia: “This is my first time. Everyone has been so welcoming and it has been a pleasure to be involved in this 60th anniversary production.”
Alexandra: “I’ve been performing with York Opera for nearly ten years, and I feel incredibly privileged to be part of the company. They are one of the most welcoming and supportive groups I’ve ever worked with. It may sound clichéd, but they really do feel like a family. York Opera provides opportunities for performers to sing and act at a very high level alongside a full orchestra and exceptional musicians, and I’ve always felt both challenged and supported here.”
What is the principal joy of singing on the York Theatre Royal stage?
Olivia: “I am very excited as this will be my first time singing on the Theatre Royal stage.”
Alexandra: “York Theatre Royal is a fantastic venue. It’s large enough to feel exciting and impressive, but intimate enough that you never lose the connection with the audience. Smaller comic moments still land beautifully, and you can really feel the audience responding to what’s happening on stage. It’s also wonderful to bring local audiences into a thriving local theatre and support a venue that plays such an important role in York’s cultural life.”
York Opera in Die Fledermaus, York Theatre Royal, tomorrow (3/6/2026), Thursday and Friday, 7.30pm, Saturday, 4pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Alexandra Mather
Four more questions for Alexandra:
What does sharing the role with Olivia bring to the production?
“It’s a really interesting opportunity to see another person’s interpretation of the role and to learn from their approach. Every performer brings something different to a character, so it’s fascinating to watch how Liv has developed her Rosalinda. It’s also been lovely getting to know her throughout the rehearsal process, and we’ve been able to support each other along the way.”
What are the primary delights of Die Fledermaus as a “party opera”?
“The joy of Die Fledermaus is that it’s light, frothy and enormous fun. It’s wonderfully easy to watch and enjoy. The waltzes and Strauss melodies sweep you along and create an atmosphere of pure celebration.
“At the same time, it has moments of genuine beauty, such as the Act II ensemble Brother Mine, where the pace briefly slows and you’re treated to some glorious, warm-hearted music. It’s a show that balances comedy, elegance and charm perfectly.”
How does the directing partnership of John Soper and Elizabeth Watson work?
“They work together extremely well because they bring different strengths to the production. John is a fantastic designer who creates and builds all of our sets himself, so he approaches the show with a very strong visual perspective. Liz is particularly skilled at character work, relationships and emotional storytelling.
“John also has an excellent comic instinct and a brilliant sense of timing, while Liz excels at shaping the more romantic and emotional moments. Together they create a really effective balance.”
What is coming up next for you in 2026?
“Next, I’ll be appearing in Michael Frayn’s classic farce Noises Off with Pick Me Up Theatre at the Joseph Rowntree Theatre in October. I’m very much looking forward to swapping one kind of comic chaos for another and trading operatic farce for one of the greatest stage comedies ever!”
