Johann Strauss’ light opera “Die Fledermaus” is the perfect music event for ringing in the new year. The music is bubbly – with a distinctly Viennese flavor – and, in the end, the zany marital comedy, faked identities and revenge jokes are blamed on the holiday’s favorite beverage: champagne.

Maine Grand Opera, which was established at the Camden Opera House only four years ago, is one of the state’s fledgling performing arts groups, but it has quickly taken on the status of a jewel. Its New Year’s Day production of “Die Fledermaus,” which also ran Sunday, Jan. 2, was effervescent and bright, just as a bewitching glass of champagne should be.

The company, headed by Karen Eisenhauer, a former opera singer, understands both the tradition and value of performing high-quality opera in a remote region such as ours. Who doesn’t need beautiful music in the dead of winter? And, after all, why would there be so many opera houses dotting the coast of Maine if the art form didn’t have a place in the state’s cultural history? True, not all opera houses were the exclusive domain of opera, but we know that opera was richly appreciated by the cosmopolitan citizens during Bangor’s lumber boom as well as in far-flung hamlets such as Stonington, where granite workers hailed from Italy and knew opera.

Although one of the world’s most popular works, “Die Fledermaus” is not grand opera. Strictly speaking, it’s an operetta. And there were elements of this production – unattractive costuming for the chorus, bumpy scene changes, an awkwardness between professional and amateur performers, and the lengthy three-hour-plus running time – that hold the company back from being uniformly excellent.

But none of those minor complaints could repress a vaulting toast to the outstanding singer-actors in this show. More than many operas, “Die Fledermaus” requires tight ensemble work from the eight leads. Otherwise, the rambling story of a doctor planning a practical joke on his friend, whose wife swoons for her ex-lover’s high A, and whose chambermaid steals a gown to go to a ball thrown by the terminally bored Prince Orlofsky (for whom the entire ruse is staged), falls flat.

With lyrical music direction by Janna Hymes-Bianchi and theatrical prodding from Beaumont Glass, the leads sparkled in their roles, as did the two dozen musicians. This is melodious music, filled with waltzes and tremendous joy – the very elements that won Strauss the nickname “The Waltz King.” Hymes-Bianchi’s baton called forth these zesty traits. Laura Bonazzoli’s Rosalinda, Joel Weiss’ Eisenstein, Lars Woodul’s Dr. Falke, and Steven Snow’s Alfred underscored MGO’s commitment to and triumph of both high talent and high spirits. Although the entire company was warmly applauded at the end, the audience favorites were (rightly) Devin Dukes as the flirtatious maid Adele, and Thomas Mark Fallon’s amazing counter tenor performance as Orlofsky, a role usually played by a mezzo soprano in trousers. (Purists might argue with casting a male in the role, but it would take only a few seconds of listening to Fallon to convince them otherwise.)

A corps de ballet of local dancers added a spirited divertissement in the second act, and Paul Hodgson, in the third act, made a cameo as the drunken jailer Frosch, a nonsinging role that requires a deft approach to witty slapstick.

The production was both a festive way to ring in the new year and an indication that MGO is swiftly climbing the ladder toward being one of Maine’s most inspired music organizations. A modest budget may not allow for accomplished sets, but the elegant intimacy of the Camden Opera House and the rigor of the MGO creative team have, thankfully, are slowly becoming a small magnet for professional opera singers. If you missed “Die Fledermaus,” make a resolution to watch for MGO’s next performance. It’s a company worth toasting.

Alicia Anstead can be reached at 990-8266 and aanstead@bangordailynews.net.