• Die Fledermaus

    College of Music, Mahidol University presents Die Fledermaus, a comic operetta by Johann Strauss. One of the most performed and famous works around the world, this masterpiece is a madcap tale of intrigue and vengeance between friends and lovers. With a host of colorful characters, a hilarious plot and engaging music, this is one work that never fails to entertain. This Mahidol production updates the original and transports it to modern day Bangkok. Expect some unexpected twists!

    วิทยาลัยดุริยางคศิลป์ มหาวิทยาลัยมหิดล ภูมิใจนำเสนอ Die Fledermaus โอเปเร็ตต้าแนวหรรษาโดย โจฮันน์ สเตราส์ หนึ่งในผลงานที่มีชื่อเสียง ได้รับความนิยมและมีผู้นำมาจัดแสดงบ่อยครั้งที่สุดทั่วโลก ผลงานชิ้นเอกนี้เป็นเรื่องราวตลกๆ เกี่ยวกับการวางอุบาย การแก้แค้นของเพื่อนและคนรัก มีตัวละครที่มีสีสันจัดจ้าน โครงเรื่องตลกขบขัน และดนตรีที่มีเสน่ห์ชวนติดตาม โอเปร็ตต้าเรื่องนี้จึงเป็นเรื่องหนี่งที่สนุกและไม่เคยทำให้ผู้ชมผิดหวัง การจัดการแสดงโปรดักชั่นนี้ดัดแปลงให้เรื่องราวเป็นสมัยใหม่มากขึ้น และเกิดขึ้นที่กรุงเทพฯ ยุคปัจจุบัน เตรียมตัวพบกับสิ่งที่คาดไม่ถึง !!

    January 17, 18, 2013, 7 p.m.
    January 19, 2013, 2 p.m. & 7 p.m.
    MACM Hall
    College of Music, Mahidol University

    Ticket prices: THB 1,000, 750, 500, 250 & 150 for students

  • Operetta: The “Little” Opera that Offers Much More

    By Joseph Rinaldi

    The term operetta developed in Paris in the mid 1800’s and quickly spread throughout the rest of Europe, Britain, and America. Operettas are most often characterized by their shorter length, light-hearted subject matters, implementation of spoken dialogue, incorporation of dancing, and tuneful melodies while still maintaining conventions of the 19th century operatic style. Although many of these gestures were approached in the more serious opéra comique and vaudeville, operetta initially served as a new medium in which composers could explore more satirical topics in a more entertaining fashion. In particular, it is due to the great success of the French composer Jacques Offenbach and his team at Théâtre des Bouffes-Parisiens that operetta gained much popularity among audiences. It was in this hall where Offenbach would offer an entertaining night of two or three one-act operettas. However, Offenbach’s success was not limited to Paris and much like its full-length counterpart, operetta quickly evolved among several national schools. The Operette, which developed in Vienna during the 1870’s, was the term first applied to full-length works of a lighter nature. The national “rivals” to Offenbach were Johann Strauss in Austria and the British Gilbert and Sullivan. For English-language works, the term most often associated with these types of compositions were “comic opera” or “comedy opera.” It is only a retrospective custom that the term operetta came to be applied across all national schools.
    Operetta lends itself to the university setting in a multitude of beneficial ways. The art form emerged as a popular form of entertainment that could draw on the contemporary tastes and attitudes of its intended audience. Due to its adaptability, operettas are frequently modernized in order to promote a more enjoyable experience, but period performances are still found in most of the world’s great opera houses and repertory theaters. Updating the opera is most often achieved by altering the original spoken dialogue of the operetta, although it has also become standard practice to update and perform the entire libretto in the common language of the audience. In the university, this serves a great purpose in reaching out to its often younger and less exposed musical audience. In addition to the entertainment capacity of operetta, the art form also holds great educational value. Operettas are primarily based upon the principles of lighter, more versatile vocalism and this is an attractive quality to educators who are looking to stretch the talents of their students. Students are further challenged by the presence of spoken dialogue, something that they might not otherwise experience in traditional opera. Much like modern day musical theater, singing, acting, and often times, dancing come together in one “triple-threat.” Despite its challenges, operetta continues to be more than just a “little” opera. The jovial plot lines and tuneful melodies are sure to entertain audiences for generations to come.

    Andrew Lamb. "Operetta." Grove Music Online. Oxford Music Online.
    Oxford University Press, accessed December 4, 2012,


    Prince Orlofsky
    Suthasinee Vimonnit (Pear)
    Dares Hutawattana (Maai)

    Lalit Worathepnitinan (Fern)
    Nattida Gumchai (Pang)
    Kornchanook Meesa (Brook)

    Chayanit Buasup (Jenny)
    Ladawan Arkasuwan (Kik)
    Sasinee Aswajesdakul (Pin)

    Napat Mingkwanyuen (Reaf)
    Thanut Ruengwimolwet (Kakit)

    Kuakul Deachmee (Ohm)
    Chaiporn Phuangmalee (Pop)

    Dr. Falke
    Don Wichaisueb (Don)
    Ariya Pongkularb (Bank)

    Kanyawan Potidej (Bow)
    Nattamon Kanokgarnjanar (Kungnang)
    Tuthanok Karunahontakitja (May)

    Dr. Blind
    Theerawat Chaiklongkit (Neung)
    Tavit Lumskul (Tei)

    Korakod Boonchai (Per)
    Tinnapob Kaewkomin (Pap)

    Varin Artvilaii (Kluay)

    Napapha Sara (Same)
    Auranus Yuengyonhattaporn (Jing)
    Kangsadan Kroekkamon (Lugpear)
    Wongdao Vajaranant (Kao)
    Pattharin Sukumwat (Beaut)
    Manasanun Aksornteang (Angel)
    Thamolwan Khumprakob (Jobjab)


    Stage Director: Pattarasuda Anuman Rajdon
    Music/Course Director: Raymond Diaz
    Conductor: Pamornpan Komolpamorn
    Project Director: Nancy Tsui-Ping Wei
    Project Manager: Napisi Reyes
    Public Relations/Disigner/Photographer: Mariangela Chatzistamatiou
    Lighting Design: Richard Ralphs
    Rehearsal Pianist: Yoshimi Sato, Raymond Diaz
    Score Arrangement: Radduen Chuntarabud
    German Diction Coach: Stefan Goepel, Goethe Institut
    Costume Design & Stage Sets: Pattarasuda Anuman Rajdon

  • Die Fledermaus Synopsis

    By Raymond Diaz

    Note: This production has taken some liberties in setting this comedy of human folly to modern day Bangkok. Some details and situations have been modified to fit the contemporary interpretation of the piece but otherwise, the plot essentially remains true to the original.
    ACT I.Central Bangkok, present. Outside the Eisenstein residence, the Korean tenor Alfred serenades an old flame, Rosalinde, who is now married to Gabriel von Eisenstein. Alfred has been stalking Rosalinde and is aware that her husband will soon be spending some time in jail for civil misconduct. Adele, the housemaid, enters in glee having received a letter from her sister Ida. The letter is an invitation for Adele to attend a very hip, private party that very same evening. Rosalindeenters and Adele asks for the evening off to visit her “sick mother” – a plea which her mistress dismisses. Alfred silently sneaks into the house and begins to woo Rosalinde, who resists his advances. The suitor leavesonly aftermaking Rosalinde swear that he may return later that evening. Eisensteinand his lawyer, Dr. Blind, arrive from a session in court. Eisenstein is angry that his prisonsentence has been increased by 3 days due in large part to the incompetence of his lawyer. After the bungling attorneyhas been dismissed, Eisenstein’s friend (and one-time rival for Rosalinde’s affection), Dr. Falke,arrives to condole with the couple. Eisenstein recounts to Rosalinde how some years before, he and Falke attended a costume party – he as Superman, and Falke as Batman. He decided to play a prank on Falke by leaving the very drunk Batman at the entrance of his law firm. This eventually led to Falke having to move to Beijing to avoid the cyber harassment that the innocent prank inadvertently grew into. Eisenstein asks Falke if he has forgiven himto which Falke replies yes and as proof invites Eisenstein to a V.I.P. warehouse party that very evening along the river – a “last Hurrah" before Eisenstein serves his sentence. Falkereminds Eisenstein to bring his pocket watch, Eisenstein’s secret weapon in charming the ladies.Because Eisenstein is supposed to begin serving his sentence that same night, Falke assures Eisenstein that he will be allowed to report to jail in the morning. Rosalinde joins Adele in a bittersweet farewell to Eisenstein before he goes off to“prison”. Realizing she will be safely alone that evening, Rosalinde gives Adele the evening off. She reads a note that Falke has left her and learns of Eisenstein’s deceptions and indiscretions. She becomes furious and when the ardent Alfred later arrives, she decides that exacting revenge on her philandering husband would be sweet.Rosalinde and Alfred’s tryst is interrupted by the arrival of the prison warden Frank, who has come to escort Eisenstein to jail. Rosalinde persuades Alfred to help her save face by posing as her husbandand Frank carts him off to jail.
    ACT II. A warehouse by the river, later that evening. A wild rave-punk-goth party is in progress. Dr. Falke appears with the royal Russian émigré, Prince Orlofsky, who is hosting the party. It turns out that Dr. Falke has orchestrated the whole party and is intent on getting revenge on Eisenstein. Adele, dressed in a “borrowed” jacket belonging to her mistress, is among the guests. She finds her sister Ida but Ida denies inviting her.Adele is introduced as Olga, a movie star. Eisenstein soon arrives and he is introduced as the “MarquisRenard”. The prince proclaims that his guests arefree to do anything that suits their fancy.
    After a round of drinking with Orlofsky, Eisenstein sees Adele and is amazed at how much ”Olga” resembles their maid. Adele laughs off this suggestion. Other guests soon arrive. Frank is introduced as the “Chevalier Chagrin”and Rosalinde is disguised as a temperamental Hungarian-Indianprincess. She is soon wooed by her own now-intoxicated husband, whose pocket watch she steals to hold as proof of his philandering. Rosalindeoffers a song from her "native" landafter which the guests toast the joys of wine, good fellowship and love. Champagne flows, and the guests party wildly until dawn. When the clock strikes six, Eisenstein staggers off to keep his appointment at the jail.
    ACT III. Downtown prison, the following morning. Amid the incessant singing of the jailed Alfred, Frogg, the prison clerk, announces that a group of people have been arrested singing and dancing in the streets. A drunken Frank, still giddy with champagne, returns from the party and quickly succumbs to sleep. He is awakened by Frogg, who announces the arrival of the arrested party. Dr. Falke enters and tells the confused Frank that he is there only to watch the last part of his little drama. Upon recognizing the “Chevalier”, Ida and Adele quickly run to him for protection and help. The girls believe that the Chevalier Chargrinmight be able to further Adele’s stage aspirations and she auditions for him. Frogg announces the arrival of a Mr. Eisenstein, who has come to begin his sentence. Adele and Ida ask to be hid and are brought to a cell. The new prisoner, Eisenstein, is surprised to learn that his cell is already occupied by a man claiming to be him, and who was found supping with Rosalinde. To obtain an explanation from the impostor, Eisenstein snatches a legal robe and wig from the unsuspecting Dr. Blind. Rosalinde hurries in to secure Alfred's release and to press divorce charges against her errant husband. Seeing the disguised Eisenstein, Alfred assumes him to be the lawyer they called for and he and Rosalindeconfide the recent flirtatious events to him. Enraged, Eisenstein removes his disguise and accuses his wife of promiscuity, at which Rosalinde whips forth the watch she took from him at the ball. Eisenstein realizes the error of his ways and repents, claiming that the champagne was to blame for his behavior. Thereafter, all is revealed by Falke. Orlofsky and his guests come out to celebrate the reconciliation of Rosalinde and Eisenstein andall sing a final toast to the king of all wines.

  • Contacts

    College of Music, Mahidol University Salaya Campus

    Address :
    25/25 Phutthamonthon Sai 4 Road Salaya Phutthamonthon Nakhonpathom, 73170 Thailand

    Telephone: (662) 800-2525, Fax: (662) 800-2530