Emmerich Kálman (1882-1953) ranks next to Franz Lehár as one of the leading representatives of the “Silver Era” of the operetta, which was stamped above all by the works of the Austro-Hungarian cultural sphere, and which followed the classical period of the Viennese operetta. Kálmán’s “Herbstmanöver”, premiered at the Theater an der Wien in Vienna in 1908, immediately confirmed the young composer’s talent for this genre. The roots of the phenomenal originality of his melodies lie in his love of Hungarian gypsy music and his natural affinity for the Viennese waltz tradition, which characterize such musically original, international successes as the operettas “The Czardas Princess” (1915) and “Countess Maritza” (1924). Kálmán emigrated to America in 1939 but returned to Europe after the War and died in Paris on 30 October 1953. Beginning in the 1920s, he increasingly incorporated elements of modern dance music into his stage works. Particularly worthy of mention among his other successful works are “Die Bajadere” (1921), “The Circus Princess” (1926) and “Das Veilchen vom Montmartre” (1930).
Wiener Blut
Johann Strauss Jr., known as the “Waltz King”, surpasses all other composers in the history of the operetta with regards to musical inventiveness. With the sparkling temperament and winning charm characteristic of his works, this genial musician brought world fame to the Viennese waltz and made spectacular contributions to the field of operetta. “Vienna Blood” was Strauss’s last work, which he left incomplete at his death. However, thanks to Adolf Müller’s brilliant arrangement, this work has become a fully accepted Strauss operetta, inspired by the brightest of Vienna-waltz spirits and delighting anew at every performance through its wealth of captivating melodies.
Der Dreispitz
Manuel de Falla (1876-1946) was one of the last brilliantly creative composers of the Romantic, nationalistic tradition. The original version of “The Three-Cornered Hat” was composed for a pantomime, “The Corregidor and the Miller’s Wife”, which was adapted from a short story, “El Sombrero de tres picos”, by Pedro de Alarcon. This was produced in Madrid in 1917. Soon after, when Serge Diaghilev’s Ballets Russes were touring Spain, Diaghilev urged him to arrange it as a ballet. The first performance of the ballet version with choreography by Massine took place in July, 1919 at the Alhambra Theater in London. The choreographer, dancer and ballet director Antonio (born Antonio Ruiz Soler in 1922) was the most famous Spanish dancer of his generation. A purist in his solo dances, he has tried in his ballets to create a synthesis of classic-academic and Spanish dance. His choreography of “The Three-Cornered Hat” was produced for television in 1974.
Der Graf von Luxemburg
With its charmingly romantic theme, effective stage action and abundance of spirited and delicate moods, this Parisian-flavorerd libretto gave Maestro Lehár every opportunity to display his talent. Lehár completed this operetta in only three weeks in 1909 and at first referred to it himself as “a slovenly piece of work”. Once again, however, impulsiveness and spontaneity proved to be the ingredients of an outright success. “The Count of Luxembourg” is – with regard to its inventiveness, originality and instrumental coloring – on a par with Lehár’s other international successes.
Der Zarewitsch
With his operetta “Der Zarewitsch” (The Czarevitch), premiered in 1927, Franz Lehár was able to repeat the success of “Paganini” (world premiere in 1925), his first large operetta created especially for Richard Tauber. Arthur Maria Rabenalt’s stylish television adaptation, with icon-covered walls, a birch forest and perhaps the most beautiful romantic duets of all of Lehár’s operettas, is not only a feast for the eyes but for the ears as well. Teresa Stratas and Wieslaw Ochman make a simply enchanting couple through their singing, appearance and acting talent.
Der Opernball
Richard Heuberger (1850-1914) came from a wealthy, art-loving Graz (Austria-Hungary) family. After working as an engineer, he decided to devote himself completely to music, working as choral director of the Vienna Singakademie, composer of instrumental music, ballets, cantatas and operas, music critic and music journalist. Shortly before the turn of the century, he tried his luck with operettas. Only his first work, the delicately orchestrated, splendidly hued “Opernball” (Opera Ball) of 1898 – a beautiful and substantial echo of the Strauss era – has managed to maintain its position in the repertoire. In this work, Heuberger tried to create a new operetta style, the “comedy operetta”. He eschewed spectacular costumes and choruses, sentimentality and drama by picking up where Offenbach had left off in “La vie parisienne” and Strauss in “Die Fledermaus”. According to the great Viennese music critic Eduard Hanslick, he succeeded in “preserving the purity of the Viennese operetta. The ‘Opernball’ was a popular, witty piece and Heuberger accordingly avoided the effects of grand opera, both noisy passion and watered-down sentimentality.”
Paganini
With “Paganini” (Vienna, 1925), his 25th stage work, Franz Lehár began an impressive new creative period that was intimately linked to his collaboration with the famous tenor Richard Tauber. The rejuvenation of Lehár’s creative powers enabled him to reach new artistic heights. The enormous success achieved by these works prove how right he was in not merely trying to make people laugh, but also to provide them with emotionally moving situations. One of the most beautiful melodies in the work is “Gern hab’ ich die Frau’n geküsst”, which summarizes Paganini’s entire world and reflects the composer’s inimitable grace and charm.
Die Csárdásfürstin
Emmerich Kálman (1882-1953) ranks next to Franz Lehár as one of the leading representatives of the “Silver Era” of the operetta, which was stamped above all by the works of the Austro-Hungarian cultural sphere, and which followed the classical period of the Viennese operetta. Kálmán’s “Herbstmanöver”, premiered at the Theater an der Wien in Vienna in 1908, immediately confirmed the young composer’s talent for this genre. The roots of the phenomenal originality of his melodies lie in his love of Hungarian gypsy music and his natural affinity for the Viennese waltz tradition, which characterize such musically original, international successes as the operettas “The Czardas Princess” (1915) and “Countess Maritza” (1924). Kálmán emigrated to America in 1939 but returned to Europe after the War and died in Paris on 30 October 1953. Beginning in the 1920s, he increasingly incorporated elements of modern dance music into his stage works. Particularly worthy of mention among his other successful works are “Die Bajadere” (1921), “The Circus Princess” (1926) and “Das Veilchen vom Montmartre” (1930).
Die Dollarprinzessin (The Dollar Princess)
Leo Fall was born in Olmütz (Moravia) in 1873 and died in Vienna in 1925. As with Lehár, his father was the conductor of an imperial military band. Having inherited the same musical talent, he began playing the violin at the age of five – a further parallel to Lehár – and later studied at the Vienna Academy of Music. In the course of his life he worked in Berlin, where he made his debut as a conductor in 1895, Hamburg and Cologne, before returning to Vienna via Berlin. Throughout his career he worked as a conductor. It was not until his return to Vienna that he began writing operettas. His works are among the best of the Vienna operettas’s second generation. The “Dollar Princess”, written in 1907, the same year as “The Merry Peasant” (Der fidele Bauer), is one of his most successful works. The music abounds in fascinating ideas and captivates through its charm and liveliness.
Die Zirkusprinzessin
Emmerich Kálmán (1882-1953) ranks next to Franz Lehár as one of the leading representatives of the “Silver Era” of the operetta, which was stamped above all by the works of the Austro-Hungarian cultural sphere, and which followed the classical period of the Viennese operetta. Kálmán’s “Herbstmanöver”, premiered at the Theater an der Wien in Vienna in 1908, immediately confirmed the young composer’s talent for this genre. The roots of the phenomenal originality of his melodies lie in his love of Hungarian gypsy music and his natural affinity for the Viennese waltz tradition, which characterize such musically original, international successes as the operettas “The Czardas Princess” (1915) and “Countess Maritza” (1924). Kálmán emigrated to America in 1939 but returned to Europe after the War and died in Paris on 30 October 1953. Beginning in the 1920s, he increasingly incorporated elements of modern dance music into his stage works. Particularly worthy of mention among his other successful works are “Die Bajadere” (1921), “The Circus Princess” (1926) and “Das Veilchen vom Montmartre” (1930).