ALFRED

What if Ms. Rosalinde’s famous singing teacher was now her fake yoga instructor?

What if he had no fear of being discovered by her husband, Mr. Eisenstein?

What if Alfred were to enter Rosalinde’s house as if it were his own home?

By a series of undeserved fates Alfred, a fake yoga instructor and regular neighborhood seducer, ends up being identified as Mr. Eisenstein himself and taken to jail in the place of the real Mr. Eisenstein

What bad luck for this rascal who only wanted to make love to Mrs. Rosalinde once again without her real husband finding out

But how will his fate be resolved? Will he get out of jail? Will the real Eisenstein end up in the cell?

Maybe the mystical energies of this half-hearted gallant will help him to get out of a murky situation this time….

Overview of the Role

Alfred is a secondary yet highly entertaining character in Die Fledermaus, an operetta by Johann Strauss II, premiered in 1874. He is a tenor role and serves as the comic romantic rival to the protagonist, Gabriel von Eisenstein.

• Vocal Type: Lyric Tenor
• Character Type: Comic, flirtatious, and over-the-top romantic
• Role in the Story: A former lover of Rosalinde (Eisenstein’s wife), he causes confusion and contributes to the farcical plot.

Plot & Alfred’s Role

Alfred’s presence in Die Fledermaus adds humor and irony, as he repeatedly gets caught in awkward situations due to his relentless pursuit of Rosalinde.

1. Flirtatious Entrance (Act I):
   • Alfred appears at Rosalinde’s home while her husband, Eisenstein, is supposed to be heading to jail.
   • He serenades her with extravagant romantic gestures, acting as if they are still lovers.
   • To avoid scandal, Rosalinde tries to get rid of him, but Alfred stubbornly insists on staying for dinner and drinking her husband’s wine.
2. Mistaken Identity & Arrest:
   • The prison warden, Frank, arrives to take Eisenstein to jail.
   • Mistakenly assuming that Alfred is Eisenstein, Frank arrests him!
   • Alfred, being the ultimate gentleman (and a bit of a buffoon), plays along rather than exposing Rosalinde to gossip.
3. Final Chaos (Act III):
   • In prison, Alfred remains cheerful and sings operatic arias (often quoting from Verdi or other famous operas).
   • When the truth comes out, everyone laughs at the absurdity of the situation.
   • In typical operetta fashion, all misunderstandings are resolved in a lighthearted way.

Vocal & Musical Highlights

Alfred is a show-stealing role, giving the tenor plenty of opportunities for comedic flair and impressive vocal moments.

• Serenades & Operatic References:
  • Alfred frequently sings well-known opera excerpts (ad-libbing from Rigoletto, Traviata, or Don Giovanni), which adds an extra layer of humor.
  • His exaggerated bel canto-style singing contrasts with the more natural speech-like delivery of other characters.
• Duets & Ensembles:
  • Flirty exchanges with Rosalinde (Act I)
  • Comedic interactions with Frank (Act III), where he humorously insists on maintaining his dignity despite being arrested.

Comedic Aspects & Acting Style

• Exaggerated Romanticism: He takes himself very seriously, despite being a ridiculous character.
• Over-the-Top Singing: Often portrayed as an amateur opera singer who never misses a chance to show off his voice.
• Physical Comedy: Many productions include slapstick moments, such as Alfred trying to seduce Rosalinde while dodging her attempts to throw him out.

Summary – Why is Alfred Important?

• Though a supporting role, Alfred sets key events in motion by causing Eisenstein’s mistaken arrest.
• His self-absorbed nature and comic bravado add levity to the operetta.

The role is a vocal showcase, allowing a tenor to display humor, charm, and impressive high notes.