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Austria is having an operetta crisis, as companies scramble for ways to keep the repertory fresh: flat, traditional stagings are lambasted as too conservative; Regietheater intrusions are greeted with howls of scorn and derision. Brigitte Fassbaender seems to have found a happy medium at her Tiroler Landestheater in Innsbruck, treating the repertory with a fortuitous mix of youth and enthusiasm.
Pithier in plot and politics than the more familiar Die Fledermaus, Johann Strauss's Hungarian-flavored Der Zigeunerbaron (seen January 23) is the story of a Gypsy's fight to regain his property. The plot has a certain similarity to Il Trovatore: the duets and trios for Czipra, Barinkay and Saffi clearly parallel the Azucena/Manrico/Leonora triangle, and there is even a parody of the anvil chorus. After a strong (and long) Act I, the plot's setups fall a little too quickly and neatly into place, and the work succumbs to a predictable progression of musical numbers. ("Um Gottes Willen, noch ein Lied!"--For God's sake, another song--moans a chorister in a cheeky Act II interpolation.)
Former mezzo Fassbaender paints the story in dear, broad strokes, peppered with enough gags to keep the giggles coming: Szupan's pigs are omnipresent, squealing every time a door is opened and providing a porcine motif to a wedding cake; Barinkay is presented as a ...