Giuditta was to be Franz Lehár’s ticket to the world of opera: His “Spieloper” or “musical comedy” was triumphantly premiered in January 1934. Intoxicating melodies and borrowings from Puccini, whom Lehár admired, and his tragically loving characters stand alongside operetta-like innocuousness. However, the end of the plot is by no means cheerful; the lovers Giuditta and Octavio go their separate ways in resignation. The “musical comedy” thus only seems to stand in stark contrast to the social present of the emerging war, the 1930s. Director Christoph Marthaler, known for his whimsically beautiful theatre evenings, picks up on the ambivalence of Lehár’s characters, who vacillate between opulence and resignation, between euphoria and the abyss. Orchestral music by Béla Bartók, Erich Wolfgang Korngold or Dmitri Shostakovich, songs by Viktor Ullmann, Hanns Eisler or Alban Berg as well as excerpts from Sladek oder Die schwarze Armee by Ödön von Horváth radically place Lehár’s operetta in the context of its time of origin. Giuditta in Christoph Marthaler’s version tells a love story within the turmoil and confusion of the times, brilliantly realised by a top-class cast led by Vida Mikneviciute and Daniel Behle.
Die lustige Witwe
Die lustige Witwe
The idea of a festival on the Neusiedler Lake in Mörbisch (in Austria’s province of Burgenland) was born in the summer of 1955; two years later, after a stage had been erected in the Mörbish Cove, Johann Strauss’s “Gypsy Baron” opened the first season of the “Seefestspiele”. The festival’s repertory is dominated by the works of the “Golden” and “Silver” Viennese operetta, from Johann Strauss to Ralph Benatzky and Robert Stolz. Lehár’s most famous operetta, “The Merry Widow”, was given its world premiere on 30 December 1905 in Vienna’s Theater an der Wien. It has been translated into 25 languages and played over 250,000 times around the world. It has been played everywhere, including – according to a 1910 newspaper report – on the Zambesi in the heart of colonial Africa. When it came out in New York and Chicago in 1907, it set off a veritable “Merry Widow” craze, spawning cigarettes, cocktails, hats etc.
Das Land des Lächelns
Franz Lehár (1870-1948) was incontestably one of the foremost masters of the operetta. He abounded in creative ideas, was a supreme craftsman, a temperamental musician whose artistry flowed in his blood, and a dramatist who succeeded in breathing genuine life into the hackneyed figures of the operetta genre. His most popular operettas were premiered between 1925 and 1929. These were the works whose wealth of ideas and emotionally florid, sometimes even sentimental, melodies brought them greater fame than the brilliant early works such as “The Count of Luxembourg” (1909) and “Gypsy Love” (1910) – save for “The Merry Widow” (1905), his most popular operetta of all. The works of this second creative period were also conceived with one particular singer in mind: Richard Tauber. The most typical works of this period are “Paganini” (1925), “The Czarevitch” (1927), “Friederike” (1928) and “Das Land des Lächelns” (1929). Among Lehár’s later operettas, “Das Land des Lächelns” has been particularly successful. It revels in color and rhythmic liveliness and the peculiar harmonies and melodies echo the exoticism of the Chinese setting.
The Merry Widow
Prima ballerina Karen Kain stars as the widow Hanna Glawari in this specially-staged recording of Ronald Hynd’s three-act ballet, set to the music of Franz Lehár, adapted by John Lanchbery. This dazzling production captures perfectly the gaiety and elegance of Parisian high society at the turn of the nineteenth century, the setting for Lehár’s charming tale of political and amorous intrigue. The other principal roles are danced by John Meehan, Raymond Smith and Yoko Ichino.
Franz Lehar: The Land of Smiles
Staatskapelle Dresden; Staatsopernchor Dresden Top-class soloists, the Staatskapelle Dresden and the Sachsischer Staatsopernchor Dresden present highlights from Lehar’s popular operetta The Land of Smiles. Besides a bittersweet love story, the piece offers one of the greatest operetta hits: “Dein ist mein ganzes Herz”. According to conductor Christian Thielemann “Operetta only becomes really good when it is performed at a very high level”, a challenge that the Staatskapelle Dresden together with Jane Archibald, Erin Morley and Pavol Breslik masters impressively.
Baden-Baden Opera Gala
“An extraordinary evening full of emotions!” that is how the press called “the concert event of the year”: Anja Harteros, Ekaterina Gubanova, Jonas Kaufmann and Bryn Terfel, four singers in a league of their own presented an extraordinary summit of classical music superstars. The star-studded cast took the audience on a long journey, exploring some of the most remarkable and popular operas and combining all the features of this supreme musical genre in a single concert: beauty, magical sound, tragedy, and overflowing passion.
3 Stars in Berlin – Live from the Waldbühne 2011
When Anna Netrebko, Jonas Kaufmann and Erwin Schrott join forces, the result is a summit of vocal giants, recorded for posterity at Berlin’s spectacular outdoor Waldbühne. Accompanied by the Prague Philharmonia under Marco Armiliato, the three singers beguiled the audience with a program ranging from famous arias to forgotten gems. There’s something for everyone, from the connoisseur to the layman who rarely listens to classical music. Also of the highest standard is the recording itself, with expert camerawork ensuring that the concert’s unique atmosphere is vividly transposed to the screen.
Gala Concert from the Semperoper Highlights from ‘The Merry Widow‘
This gala evening in the beautiful Semperoper devoted to operetta melodies with classic superstars Renée Fleming and Christopher Maltman under the baton of Christian Thielemann was a tremendous success and, as Deutsche Grammophon put it, started ‘a new tradition’. Thielemann, heading the Sächsische Staatskapelle Dresden and an ensemble of distinguished soloists and choral singers, presents the most beautiful highlights from Franz Lehár’s ‘The Merry Widow’ and succeeds in giving the famous and universally beloved melodies a perceptive new reading while still creating first-class entertainment. A short entr’acte performed in the foyer by members of the theater’s ballet ensemble allows the viewer a glimpse into the luxurious interior of the Semperoper. The New Year’s Eve gala concert ends with an homage to Dresden: the waltz ‘An der Elbe’, the last waltz written by Johann Strauss.
Classical Summit 2006 – Three Superstars in Berlin
In the tradition of the original ‘The Three Tenors,’ world-class singers Plácido Domingo, Anna Netrebko and Rolando Villazón joined forces to entertain a live audience of 20,000 spectators on location and millions more around the world on TV. They sing the most famous arias and duets from the world of opera, accompanied by the orchestra of the Deutsche Oper Berlin and its conductor Marco Armiliato.