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Every year in June, Pride Month celebrates the visibility of queer culture, but also commemorates the fight against marginalisation and discrimination. Pride is resistance and joie de vivre! And what work would be better suited to take a fresh look at eroticism, love and social expectations on the occasion of this festival than Johann Strauss' Die Fledermaus?
Operetta of all things? Yes - no genre is more queer! Subversive and revealing from the very beginning, it has always been a play with gender roles and desires. With masquerade and transformation, it tells of people who take on - or have to take on - other identities. What changes when relationships are not automatically heterosexual? When social norms produce not just pleasurable deceptions, but existential lies?
Jürgen Bauer and Moritz Franz Beichl have written a new version of the text for this pillar of the repertoire. No matter how you love or define yourself - celebrate Pride Month with us, the operetta and the liberating laughter about the masks that society wants to impose on us.
nach einer Inszenierung von Robert Herzl
Revived production Florian Hurler
Set design Pantelis Dessyllas
Costume design Doris Engl
Costume design Matthias Dielacher
Choreography Lili Clemente
Choreography Florian Hurler
Dramaturgy Jürgen Bauer
Choir director Roger Díaz-Cajamarca
For all those who use a screen reader, a description of the visual aspects of the performance (set design, costumes...) follows here instead of the photo gallery.
The Pride version of the operetta is set against a historical backdrop that roughly corresponds to the time when the piece was written, in the late 19th century. The first act takes place in the Eisenstein family home, a classic Viennese living room, meticulously furnished with period furniture and textiles. In the second act: Prince Orlofsky’s chambers, where an opulent celebration is taking place. The third act takes place in a prison, with an entrance to the cells on the left and a desk in the center. The sets are all rich in detail and furnished with numerous props and pieces of furniture, creating spaces that feel realistic. The costumes in the Pride version of Die Fledermaus are opulent and reference queer role models. In the second act, for example, the character of Ida appears in a massive costume as Empress Sisi, while Orlofsky wears a feathered dress with a coat and a mustache, blurring gender boundaries. Ivan wears black leather pants and a leather harness. Rosalinde, on the other hand, arrives at the ball dressed as a man in a tailcoat and a black fur coat. The ballet dancers wear skin-tight black-and-white leotards and opulent headdresses. The costumes are mostly black and purple, with a few other color accents. The impression is that of a queer ball, where the costumes are opulent, playful, and sexy.
Standing ovations, a packed house on its feet at the premiere! And the press is equally enthusiastic about Die Fledermaus – Pride Edition.
presented by
Proud Vienna Pride Partner 2026
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "© Barbara Pálffy/Volksoper Wien")
.JPG "Daniel Schmutzhard (Gabriel von Eisenstein), Thomas Oliemans (Dr. Falke), Martin Winkler (Frank), Tom Neuwirth (Frosch), Katia Ledoux (Prinz Orlofsky), Chor der Volksoper Wien - © Barbara Pálffy/Volksoper Wien")
.jpg "Hedwig Ritter (Adele)")
