Soprano's versatility sparkled

Opera fans know to expect lots of surprises in the Act II party scene of "Die Fledermaus," when visiting real-life dignitaries often appear as walk-on "guests" at the Prince's gala soiree. (Gov. Christine Gregoire, who was to appear in just such a role Saturday, canceled because of the state's flooding emergency.)

This may be the first time in opera history, however, that the leading soprano stopped the show with the "Liebestod," the finale of Wagner's "Tristan und Isolde."

Seattle Opera's "Die Fledermaus" had more than its share of surprises in nearly three hours of nonstop laughs and fine singing, but the moment that took everyone's breath away was that "Liebestod" — sung by soprano Jane Eaglen in honor of the legendary singer Birgit Nilsson, whose death was announced this past week.

This Wagnerian sidestep was a reminder of the tremendous versatility opera fans discovered in Eaglen on opening night. (The tribute was sung on Saturday only and will not be repeated.) Here is a singer whose natural métier is big dramatic-soprano repertoire but who can step into an entirely different, lighter comic role as if donning a comfortable cloak.

Company director Speight Jenkins' decision to cast four leading roles in this "Fledermaus" with big-voiced Wagnerian singers raised a lot of eyebrows, but the decision was thoroughly vindicated in the witty, high-speed high-jinks of this show. From start to finish, Chris Alexander's staging kept the performance in high gear, with an over-the-top hilarity that made this extended practical joke consistently funny. Alexander's action dovetailed nicely with the inventive choreography of Nicola Bowie (cheers to her dancers) and Beth Kirchhoff's well-trained chorus.

Sung in English, this "Fledermaus" was full of topical references, including jokes about the monorail, "Desperate Housewives" and the "Ring." Eaglen's Rosalinde was terrific, full of wonderful comic touches; she can set a whole mood in a gesture and a glance, and many stand-up comediennes would die for her timing. Her voice, usually heard in music that's heavily serious, lightened up admirably for the faster passagework and high-lying lines of this role. (Her figure has lightened up too, nicely set off by Zack Brown's sumptuous costumes.)

Richard Berkeley-Steele's Eisenstein was both energetic and splendidly sung, his voice an excellent match for Eaglen's. Alan Woodrow, a third Wagnerian, was right on the money as an amorous Alfred who melts Rosalinde's heart by singing Siegfried (his role in the "Ring"). And Nancy Maultsby, another "Ring" veteran, was a most adroit and convincing Prince Orlovsky, a cross-gender "pants role" that's notoriously difficult to bring off.

Sarah Coburn's polished Adele was a delight from start to finish; Christopher Feigum and Patrick Carfizzi were first-rate as Dr. Falke and Frank, as were Doug Jones (Dr. Blind) and Grant Neale (an outrageously funny Frosch). Kudos to conductor Gerard Schwarz and his lilting, lyrical orchestra.