A student production of Strauss’s well known Die Fledermaus could easily have slipped into being predictable, cheesy and slightly dull. However, the Cambridge University Opera Society managed to create a performance that was both gripping and funny, with excellent singing from all of the characters, most notably from Margaret Walker playing Rosalinde, and from Kristi Bryson playing Adele, both of whose frequent high notes were pretty much flawless.

Director Laurie Stevens’s choice to use an English translation and a modern set and costumes worked brilliantly: her aim to “transport the characters to our British Modern-day equivalent of the Viennese aristocracy,” was realised with great panache and style, with zebra print galore. I couldn’t help but imagine that it was an episode of Made in Chelsea, but with better singing.

The Orchestra, conducted by Alex Beetschen, managed to convey the elegance necessary for the music in the Overture, managing not to over-egg and make it sound cheesy – which is something this music is certainly prone too. However, they were slightly let down by some violin tuning issues, and I felt perhaps that some of the dramatic moments could have been ramped up a little bit.

Adele’s entry as she burst onto the stage in fits of musical laughter was especially well executed, managing to perfectly convey the shock and excitement at receiving an invitation to the ball. I did however feel that her attempt at an accent was not so brilliantly executed.

One character who did manage to do his accent very convincingly was Peter Aisher, playing Alfredo, the Italian tenor – a character who is meant to parody the over-dramatic nature of Italian tenors at the time. We certainly got a sense of this from his hilariously randy, overly lyrical, and over the top performance.

As, Gossip Girl style, the plot developed with many confusing mistaken identities, the singers and orchestra managed to keep momentum going with well executed and energetic dancing, acting and singing, a great example of this being the number ‘Oh Husband Mine’, where Adele, Rosalinde and Eisenstein each attempt to mask their excitement about the night ahead, whilst pretending to be sad about Eisenstein’s supposed departure to prison.

Overall, a very enjoyable evening that seemed to be greatly enjoyed by the audience. The cast and production team managed successfully to bring Strauss to modern-day Britain, with excellent singing and acting along the way.