„The evening becomes a triumph for the entire ensemble“: Critical Acclaim for Die Fledermaus – Pride Edition

"The Volksoper can be proud of its Die Fledermaus Pride Edition: this successful queer adaptation of the operetta classic, featuring Conchita Tom Neuwirth as Frosch, brought the packed house to its feet." (Die Presse, June 10, 2026)

"In terms of sheer event value, Tuesday evening at Vienna’s Volksoper may have delivered the operatic highlight of the year so far. Die Fledermaus Pride Edition with Tom Neuwirth as Frosch (...) demonstrated how, by making only a few adjustments, a beloved entertainment classic can be transformed into a revelatory piece of theatre." (ORF, June 10, 2026) 

"The evening becomes a triumph for the entire ensemble, with Neuwirth providing exactly the right spark." (ORF, June 10, 2026)

"Never before has this operetta classic been so colorful: a humorous and biting exploration of love, identity, and social norms. (5 out of 5 stars)" Kronen Zeitung, June 10, 2026)

"What belongs together comes together. At the Volksoper, the Pride Edition of Strauss’s operetta becomes a coherent Gesamtkunstwerk. (...) Florian Hurler adapted Robert Herzl’s lavish production, while Jürgen Bauer and Moritz Franz Beichl created a delightfully cheeky, suggestive, and distinctly Viennese new text."
(Der Standard, June 11, 2026)

"The acclaimed star of this rainbow-colored production is Tom Neuwirth, also known as Conchita Wurst and a global figurehead of the LGBT community. He enters the stage to thunderous applause. As Frosch, he once again showcases his versatility as both musician and actor." (Kronen Zeitung, June 10, 2026)

"Operetta has never been an exclusively heterosexual affair. The queer twist that Jürgen Bauer and Moritz Franz Beichl give Strauss’s Die Fledermaus libretto for this Pride edition therefore fits seamlessly." (Kurier, June 10, 2026)

"Die Fledermaus Pride Edition: if this does not become a new tradition, the Volksoper would be making a serious mistake." (Die Presse, June 10, 2026)

"Wonderfully supple strings in the overture under the baton of Tobias Wögerer. Before and after: a bustle like a dovecote. Please make this an annual June event!"
(Der Standard, June 11, 2026)

"Florian Hurler has flawlessly aligned Robert Herzl’s older production with the new Pride dialogues. These were written by Jürgen Bauer and Moritz Franz Beichl—the former a dramaturg at the house, the latter a director—and both experienced authors. They blend new jokes with old ones, or jokes that might as well be old (which is no drawback), gleefully draw on clichés because, after all, at a Rainbow Parade every form of visibility and every visible facet between drag, kink, and normality is preferable to invisibility, and they mix all of this with operetta tradition, which has never really been far removed from such themes." (Die Presse, June 10, 2026)

"Particularly noteworthy is drag queen Ryta Tale, who demonstrates her talent and artistry as Sister Ida in a homage to Empress Sisi. Highlight: the ballet interlude." Kronen Zeitung, June 10, 2026)

"When Frosch begins the third act by singing Marianne Rosenberg’s classic ‘Er gehört zu mir’ (‘He Belongs to Me’), the issue at stake is the articulation of love and belonging in the face of social pressure. This theme concerns everyone, regardless of their sexual orientation. The evening makes this point powerfully and at the same time uproariously funny." (ORF, June 10, 2026)

"Yet the most memorable performance of the evening came from the literally towering drag queen Ryta Tale in the small role of Ida: a giant Sissi in platform heels, equipped when necessary with earthy language, but also hilariously awkward as the soloist in the Pizzicato Polka ballet sequence, culminating in a final split. Chapeau!"
(Die Presse, June 10, 2026)

"As Eisenstein, a man eager to preserve appearances but even more eager to kiss men, Daniel Schmutzhard gives his all, vocally as well. Jaye Simmons received much affection for her lively, crystal-clear Adele, while Johanna Arrouas endows the jealous yet ultimately forgiving Rosalinde with tremendous energy and masculine gestures. (...) Stage personality Ryta Tale is a larger-than-life presence in her Sisi costume. Under Tobias Wögerer, the Volksoper Orchestra delivers a spirited Strauss sound that makes the genre appealing and accessible even for many audience members attending their first operetta." (Kurier, June 10, 2026)

"This production consistently follows through on what Strauss and his librettist merely hinted at. And, to the audience’s delight, it does not hold back on bawdy jokes (...). Yet behind the gags lurk serious messages—and plenty of codes for those in the know." (ORF, June 10, 2026)