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joins them, apologizing for Barbara’s absence from the Duke is eager to be alone with his supposed Barbara, coming celebration, as she has had to visit a sick aunt, but matters are complicated when Delacqua attempts to Johann but Caramello assures the Duke that matters are in hand. introduce a woman whom he claims is his wife, an Delacqua, pursuing his ambition of acquiring a position attempt to flatter the Duke into employing him as as steward to the Duke, plans to provide the Duke with a steward. The woman is, in fact, Ciboletta in disguise, as STRAUSS II false Barbara, as an inducement. He calls to Barbara and Annina tells the Duke. º The Duke recalls his earlier bids her goodbye. Caramello meanwhile explains to the song to Barbara. ⁄ Delacqua thinks all is going well, Duke that he will signal to Barbara by singing Komm’ in but Ciboletta, as Delacqua has told her, takes the die Gondel. % The Duke is delighted at the prospect, occasion to ask the Duke for a position for her man, not, Eine Nacht in Venedig while Barbara and Annina are heard preparing their as Delacqua had told her, a stewardship for him, but the disguises for the masked ball, with Pappacoda. position of cook for Pappacoda. The Duke agrees at ^ ¤ SCHW Pappacoda asks Ciboletta if she has brought him a once. He is happy with the two girls, while they are TH AR costume. & The voice of the Duke is heard, singing waited on by Caramello and Pappacoda, anxious to BE Z ‹ A K Komm’in die Gondel, mein Liebchen. Annina, disguised keep an eye on matters. When the bells of St Mark’s S O as Barbara, bids Delacqua goodbye, as she sets out, it sound it will be time for the Duke to lead celebrations in I P * L F seems, for Murano. Delacqua is greeted by a group St Mark’s Square, and the company duly go on for E of party-goers, including Pappacoda and Ciboletta, further revelry. making fun of the Senator, with the Duke’s song heard in the distance. ( People join in the mock serenade to Act III old Delacqua, who thanks them, while Barbara slips away. ) The Duke anticipates pleasure to come. › In St Mark’s Square the company gathers to celebrate carnival. ﬁ Annina, Ciboletta, the Duke and Act II Caramello praise the pigeons of St Mark’s as messengers of love. ﬂ Caramello, however, cannot ¡ In his palace the Duke is waiting for Caramello’s rejoice, when he sees Annina together with the Duke, arrival with Barbara. The senators’ wives make their feelings he expresses in a waltz-song. ‡ Ciboletta stately entrance, led by Senator Barbaruccio’s wife reveals to Delacqua that Barbara is not on Murano, to Agricola, ready for the amorous Duke. ™ The Duke his chagrin, and he wanders off, searching for her. greets Agricola Barbaruccio, and Caramello ushers in Pappacoda is consoled by learning that he has been the Duke’s expected guest. £ It is, of course, Annina, appointed ducal cook. ° Pappacoda and Ciboletta 1 g who has taken the place of Barbara, delighted at the celebrate their good fortune. · The Duke asks 954 Recordin situation that she now finds herself in. ¢ Caramello Ciboletta where her mistress is, and she explains the discovers Annina’s identity. – She, however, is imposture of Annina, a revelation that seems not to resolved to pursue the adventure on which she has disturb him unduly. Delacqua still searches for Barbara, embarked. § The Duke expresses his satisfaction with who appears, explaining that she had boarded the wrong Caramello, whom he sends away. ¶ Now alone with gondola, but been rescued by Delacqua’s nephew Elisabeth Schwarzkopf • Emmy Loose his supposed Barbara, he reminds her of what she said Enrico. Caramello is promoted, as he wished, to the to him last year. Meanwhile Pappacoda is searching for position of steward. ‚ All ends to general satisfaction. Nicolai Gedda • Peter Klein • Erich Kunz Ciboletta. • The Duke’s guests are enjoying the ball, thanks to the invitations that Caramello has given out to Keith Anderson Philharmonia Orchestra and Chorus so many, including Pappacoda. Caramello, of course, is anxious to protect his Annina from the Duke. ª The Otto Ackermann

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Mozart and Richard Strauss, a number of which she he conducted the Royal Romanian Orchestra while they Great Operetta Recordings recorded. were on tour before accepting a position in the Opera Karl Dönch (1915-1994), who sings Delacqua, House of his native city for the 1925-26 season. He was spent virtually all his career as a member of the appointed a Kapellmeister at Düsseldorf Opera in 1928 Johann Staatsoper in Vienna, graduating from the chorus to and in 1932 moved to the German Opera in Brno. This small rôles, which included Bartolo in Il barbiere di was followed by an appointment to the Municipal STRAUSS II Siviglia, Melitone in La forza del destino, Faninal in Theatre in Berne in 1935 where he remained until 1947. (1825-1899) Der Rosenkavalier and Beckmesser in Die Between 1949 and 1955 Ackermann worked regularly Meistersinger. He first sang at the Salzburg Festival in at Zurich Opera in addition to the Theater an der Wien 1951 and later appeared in Berlin and Buenos Aires. between 1947 and 1953. This was followed in turn by a Eine Nacht in Venedig The Swiss-naturalised Otto Ackermann (1909- period of three years as Music Director of the Cologne 1960) proved to be an outstanding natural operetta Opera. He returned to Zurich in 1958 but soon became (A Night in Venice) interpreter, sensing to perfection the elusive Viennese seriously ill, dying in 1960. Ackermann was a fine lilt and phrasing. Born in Bucharest, he first studied conductor of both opera and operetta in addition to Operetta in Three Acts there at the Royal Academy of Music before moving to being admired as a sound Mozartian. Libretto by F. Zell and Richard Genée the Hochschule für Musik in Berlin, where his teachers Edited by Erich Wolfgang Korngold and Ernst Marischka were Georg Szell and Leo Prüwer. At the age of fifteen Malcolm Walker

Guido, Duke of Urbino ...... Nicolai Gedda (tenor) Caramello ...... Erich Kunz (baritone) Synopsis invited them, with their wives, to a masked ball, and Delacqua, who has hopes of a profitable position from Delacqua ...... Karl Dönch (bass-baritone) 1 The Overture is a medley of tunes from the operetta. the Duke, is also aware of his character, and has Pappacoda ...... Peter Klein (tenor) therefore decided to send his wife Barbara to the island Annina ...... Elisabeth Schwarzkopf (soprano) Act I of Murano to stay with an aunt, out of harm’s way. Ciboletta ...... Emmy Loose (soprano) 8 Caramello, barber and factotum to the Duke, arrives, Agricola ...... Hanna Ludwig (contralto) 2 The scene is a piazza by the Grand Canal in preceding the Duke’s arrival, proud of himself and his Barbara ...... Hanna Ludwig (contralto) eighteenth-century Venice. People stroll, enjoying the position, and greeted by the people. 9 Pappacoda tells approaching evening. 3 The cook Pappacoda him of Delacqua’s plan to keep Barbara away from the Speaking parts: ...... congratulates the Venetians on their acquisition of a Count’s planned masked ball, and Caramello decides to Barbaruccio ...... Karel Stepanek genuine Neapolitan macaroni maker. 4 Pappacoda, as take the place of the gondolier and take Barbara to the Barbara ...... Hanna Norbert he advertises his wares, is joined by Enrico Piselli, the Duke’s palace. Barbara, however, is determined not to Enrico ...... Anton Diffring nephew of Senator Delacqua, who wants Pappacoda to miss her planned meeting with Enrico, and arranges for Agricola ...... Lea Seidl send a message for him to Barbara, Delacqua’s young Annina to take her place on the gondola. 0 Caramello wife, arranging an assignation for nine o’clock that is Annina’s lover, but has neglected her. She describes Philharmonia Orchestra and Chorus evening. Pappacoda resumes his selling, interrupted him as a migrating swallow, ‘pellegrina rondinella’. now by his own beloved Ciboletta, Barbara’s maid. ! Ciboletta is upset because Pappacoda has no money Otto Ackermann 5 In a duet with Pappacoda, she deplores the duplicity to take her out, but Caramello solves the difficulty by of men. 6 A boat draws near, bringing the fisher-girl offering them invitations to the Duke’s ball. @ Now Recorded 25th – 28th and 31st May and 25th September, 1954 in Kingsway Hall, London Annina, who advertises her wares, ‘frutti di mare’. Annina and Caramello, Pappacoda and Ciboletta, can First issued on Columbia 33CX 1224 and 1225 7 Pappacoda teases her about her lover Caramello, all go to the masked ball, although that is as far as barber and factotum to the Duke of Urbino. Barbara, Ciboletta intends to go on this occasion. A messenger Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Delacqua’s wife, appears and Pappacoda gives her announces the arrival of the Duke. # The Duke greets Enrico’s message. As they go, Delacqua himself his beloved Venice, and its pretty girls. $ He asks appears, with Senator Barbaruccio. The Duke has Caramello whether he has spoken to Barbara. Delacqua 8.111254 27 8.111254 111254 bk Nacht Venedig 2/9/07 11:26 AM Page 6

Vienna State Opera under Karl Böhm in 1943. Her first in 1986. He sang at the Met for 22 seasons in 27 rôles in 1 Overture 6:32 % Hier ward es still ... overseas appearance was with this company on their 289 performances. He was still recording as recently as (Orchestra) Der Mond hat schwere Klag’ erhob’n 2:59 visit to London in 1948, when she sang Donna Elvira in 2002. Gedda has proved the most versatile lyric tenor of (Duke, Barbara, Annina, Pappacoda, Ciboletta) Don Giovanni and Marzelline in Fidelio. She then his time with a vast discography covering every Act I 35:42 joined the fledgling Covent Garden Company, where conceivable aspect of the repertory. ^ Hast du mir ein Kostüm gebracht 0:56 for five seasons she sang a variety of rôles, mostly in The Austrian baritone Erich Kunz (1909-1995) 2 Wenn vom Lido sacht 1:05 (Pappacoda, Ciboletta, Duke) English. Alongside these appearances, Schwarzkopf was assigned the rôle of Caramello. Born in Vienna, he (Chorus) sang at the Salzburg Festival (1946-1964), La Scala, studied with Professor Lierhammer and the baritone & Komm’ in die Gondel, mein Liebchen 2:27 Milan (1948-1963), San Francisco (1955-1964) and, Hans Duhan. Making his début as Osmin in Mozart’s 3 Ihr Venezianer hört ... (Duke, Delacqua, Annina) Drum sei glücklich, sei selig, Venezia! 1:11 finally, at the Metropolitan in New York in 1964. She Die Entführung aus dem Serail in Troppau in 1933, he (Pappacoda, Chorus) * Messer Delacqua! 0:58 was greatly admired in the rôles of the Marschallin, spent the summer of 1935 as a member of the (Pappacoda, Ciboletta, Delacqua, Duke) Fiordiligi, the Countess in Le nozze di Figaro and Glyndebourne Festival Chorus. This was followed by 4 Dialogue: Makkaroni, Makkaroni di Napoli! 0:50 Donna Elvira. She also had a distinguished parallel periods in Plauen (1936-37) and Breslau (1937-41) (Pappacoda, Enrico, Ciboletta) ( Zur Serenade! 5:23 career as a Lieder singer in the concert hall. She before joining the Vienna State Opera in 1940. Two (Chorus, Delacqua, Duke) recorded a number of operetta rôles including Rosalinde years later followed his Salzburg Festival as Figaro. The 5 ’S ist wahr, ich bin nicht allzu klug ... in Die Fledermaus and Saffi in Der Zigeunerbaron. year 1943 saw Kunz at the Bayreuth Festival singing Wenn du dich kränkst 1:44 ) Kaum, daß mein Liebchen The versatility of the Swedish tenor Nicolai Gedda Beckmesser in Die Meistersinger, a rôle he would (Ciboletta, Pappacoda) die schaukelnde Gondel entführt 1:29 has always been considered remarkable in that he has repeat in 1951. He visited London in 1948 as a member (Duke, Chorus) sung in and can speak seven languages. Born in of the Vienna Company, singing Leporello, Figaro and 6 Oho! ... Seht, o seht! ... Frutti di mare! 2:10 Stockholm in 1925 of a Russian father, a bass member Guglielmo. He sang the last rôle on his return to (Annina, Chorus) Act II 24:28 of the Kuban Don Cossack Choir and later cantor at the Glyndebourne in 1950. His years at the Metropolitan in Russian Orthodox Church in Leipzig, and a Swedish New York were between 1952 and 1954 when he sang 7 Dialogue: O, Annina, ich errate was Euch herführt ¡ Wo bleibt nur Caramello? (Pappacoda, Annina, Barbara, Barbaruccio, Delacqua) 1:51 ... Venedigs Frauen herzuführen 2:54 mother, he studied with the Swedish tenor Carl Maria 22 performances of four rôles, Beckmesser, Leporello, (Duke, Chorus, Agricola) Oehman at the Swedish Royal Academy of Music. He Faninal and Figaro. He again sang in London with the 8 Evviva, Caramello! ... Willkomen, liebe Freunde! 2:07 made his début at the Royal Opera in Stockholm in Vienna Company in 1954. Kunz was a fine Mozartian (Chorus, Caramello) ™ Dialogue: Was führt die Damen hierher? 0:28 1951 in the première of Sutermeister’s Der rote Stiefe, with an engaging stage manner. (Duke, Agricola) followed by the rôle of Chapelou in Adam’s Le The rôle of Ciboletta is sung by the Austrian 9 Dialogue: Ja, Pappacoda, alter Makkaronikessel 1:01 postillon de Longjumeau in April 1952, an occasion soprano, Emmy Loose (1914-1987), who was born in (Caramello, Pappacoda, Barbara, Annina) £ Was mir der Zufall gab 1:35 which brought him to international attention. After Karbitz/Aussig (on the Elbe) in Bohemia. Educated at (Annina) taking part in the first Western recording of Boris the Prague Conservatory, she made her début in 1939 as 0 Annina! Caramello! ... Pellegrina rondinella! 2:45 Godunov under Dobrowen (Naxos 8.110242-44), Blondchen in Die Entführung aus dem Serail in (Caramello, Annina) ¢ Dialogue: Ach, Gott sei Dank 0:49 Gedda made his La Scala début in 1953 as Don Ottavio Hanover. Two years later she was engaged by the (Caramello, Annina) and as the Groom in the première of Orff’s Il trionfo di Vienna State Opera to perform Ännchen in Der ! Dialogue: Hi, hi, hi ... Afrodite. The following years saw him appear at the Freischütz. She sang there for 25 continuous years as a Ja, Pappacoda, was hat sie denn 0:20 ∞ Hör’ mich, Annina, komm in die Gondel! 1:47 Paris Opéra (Huon in Oberon), the Aix-en-Provence lyric and coloratura soprano. Loose also appeared at (Ciboletta, Caramello, Pappacoda) (Caramello, Annina) Festival, Covent Garden (the Duke in Rigoletto), seasons in Salzburg and Glyndebourne and regularly at @ Alle maskiert, alle maskiert 2:12 § Dialogue: Caramello, ich bin mit dir zufrieden 0:27 Salzburg Festival (Belmonte in Die Entführung) and the the Bregenz and Aix-en-Provence festivals, as well as at (Annina, Ciboletta, Caramello, Pappacoda, Herald) (Duke, Caramello, Annina) Metropolitan in New York as Gounod’s Faust. In 1958 La Scala, Milan. She appeared at Covent Garden in he created the rôle of Anatol in Barber’s Vanessa, London with the Vienna Company in 1948 and as a # Sei mir gegrußt, du holdes Venezia! 2:22 ¶ Sie sagten meinem Liebesfleh’n 1:56 which he also gave in Salzburg. He first sang Berlioz’s guest with the resident company, singing Sophie in Der (Duke) (Duke, Annina, Pappacoda, Caramello) Benvenuto Cellini at the Holland Festival in 1961, Rosenkavalier and Susanna in Figaro during the 1949- which he later repeated at Covent Garden in 1966, 1969 50 season. She also sang in Japan and North and South $ Dialogue: Nun, Caramello, hast du Barbara gesprochen? • Solch’ ein Wirtshaus lob’ ich mir ... and 1976. He also appeared in Russia in 1980-81 to America. From 1970 she taught at the Vienna Academy (Duke, Caramello, Delacqua, Barbara) 1:42 Marietta, come va? 3:21 great acclaim. His London concert hall début took place of Music. Emmy Loose was admired in the operas of (Chorus, Pappacoda, Caramello) 8.111254 63 8.111254 111254 bk Nacht Venedig 2/9/07 11:26 AM Page 4

ª Dialogue: Komm, Barbara 0:41 Act III 12:09 Johann Strauss II (1825-1899) (Duke, Annina, Caramello, Delacqua) Eine Nacht in Venedig › Karneval ruft Euch zum Ball! 0:59 º Ninana, Ninana, hier will ich singen 2:55 (Chorus) Following the success of Offenbach’s French operettas When preparing for a Berlin revival in 1923 the (Duke, All) in German translations during the mid-nineteenth author Ernst Marischka and composer Erich Korngold ﬁ Die Tauben von San Marco 3:34 century, theatrical managers in both Berlin and Vienna made a series of revisions to both music and dialogue in ⁄ Dialogue: Alles geht gut 0:36 (Annina, Ciboletta, Duke, Caramello) sought to produce something similar for their own an attempt to simplify some of the problems inherent in (Delacqua, Ciboletta, Duke) theatres. Franz von Suppé wrote the first important the original work. They re-ordered Strauss’s original, ﬂ Ach, wie so herrlich zu schau’n 3:09 Viennese work in the genre, Das Pensionat, in 1860. It made cuts and re-orchestrated the music in part. They ¤ Lasset die Andern tanzen da! Tra la la la! 3:20 (Caramello) was a composer who was known purely for his dance also added a couple of numbers for the part of the Duke (Duke, Caramello, Annina, Ciboletta, music, however, who really brought the Viennese form (sung by the immortal Richard Tauber) by taking music Pappacoda, Chorus) ‡ Dialogue: O, O, mein Weib ist mir geraubt worden! 0:49 (Delacqua, Ciboletta, Pappacoda) to the fore: Johann Strauss the younger. It is remarkable from Strauss’s Simplicius and adapting one of Annina’s ‹ Jetzt ist’s Zeit zur Lustbarkeit ... that although he had no previous experience of writing songs. It is this 1923 version by which the operetta has Horch! von San Marco der Glocken Geläut 3:42 ° Tacke, tacke, tacke ... music for the theatre he should be so successful. One become best known and that is used as the basis of this (Chorus, Duke, Annina, Ciboletta) Aber wenn man erst gekostet hat 1:56 reason was in his choice of librettist, Richard Genée, recording. In Korngold’s version the baritone rôle of (Pappacoda, Ciboletta) who was also an operetta composer and conductor. It Pappacoda is given to a tenor. Here the part of was his theatrical experience allied to the music of Caramello is undertaken by a baritone, thereby · Dialogue: Ciboletta, weißt du nicht Strauss that resulted in Die Fledermaus (1874). Their necessitating the transposition of his part. There are wo deine Herrin ist? 1:08 other collaborations included Das Spitzentuch der other small changes too numerous to detail here. (Duke, Ciboletta, Delacqua, Barbara, Caramello) Königin (1880), Der lustige Krieg (1881) and Eine The work has been filmed on a number occasions, Nacht in Venedig (1883). beginning with a 1933 Hungarian version shot in the ‚ Wie sich’s gebührt, hat er’s gespürt 0:34 The three-act libretto for Eine Nacht in Venedig Hunna Studios in Budapest as Egy éy velencében, with a (All) was written by F. Zell (Camillo Walzel) and Richard German-language version shot at the same time. Further Genée, adapted from Château Trompette by Eugène filmed versions followed in 1942, 1953, 1973 and 1975. Cormon and Michel Carré. Zell worked primarily on the The late Philip Hope-Wallace, a critic with a dialogue and the action while Genée concerned himself delightful turn of phase, wrote of the operetta in The with the song-texts. Following the divorce from his wife Gramophone in September 1955: “A Night in Venice Lili, Strauss was keen to find a different theatre to give (1883), with the canals running with schmaltz and many the première of his work, but arrangements proved a German joke about macaroni and La donna being difficult and on 1st May 1883 it was announced that the mobile, may put off the ultra austere, but I think you new work would be given in Berlin. Strauss worked would have be pretty stiff not to surrender”. Of the throughout the summer writing his operetta. recording he felt “This set speaks for itself. Outside the Nevertheless problems arose when the European press world of the gramophone you would never expect to accused Zell and Genée of plagiarism. Eventually the encounter an operetta with a cast like this one”. Viennese writers admitted what they had done and The rôle of Annina is undertaken by the German offered a caveat with the words: “with free use of a soprano Elisabeth Schwarzkopf (1915-2006), the wife French subject”. The new operetta was eventually of recording producer and impresario Walter Legge staged in Berlin at the Friedrich-Wilhelmstädtisches whom she married in 1953. She studied at the Berlin Theater on 3rd October 1883. Both the libretto and Hochschule für Musik and later with the soprano Maria music were damned by the Berlin press. Strauss Ivogun, making her début as one of the Flowermaidens returned to Vienna for the Viennese production six days in Parsifal with the Städtische Oper, Berlin, in 1938. later. Considerable rewritings of both text and music Originally a lyric soprano she undertook rôles such as were hurriedly put into action. The Austrian production Adele in Die Fledermaus, Musetta in La Bohème and ran for 44 performances. Zerbinetta in Ariadne auf Naxos when she joined the

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8.111254 8 NAXOS Historical J. STRAUSS II: Eine Nacht in Venedig 8.111254 Time 78:51 Playing Eine Nacht in Venedig, Eine Nacht in critic wrote: “A Night Johann Strauss II’s Strauss II’s Johann in a version this recording on heard Marischka and Erich Ernst by prepared Berlin revival, a 1923 for Korngold is modelled, of his stage so many like works, operettas. French on Offenbach’s in 1955, appeared When this recording The Gramophone (1883),Venice with the canals running in joke a German with schmaltz and many donna being and La about macaroni mobile, put off the ultra austere, may but stiff to be pretty have would I think you set speaks for This not to surrender… itself. of the Outside the world to expect never would gramophone you like with a cast encounter an operetta this one”.an was Ackermann Otto conductor, outstanding operetta the elusive to perfection capturing Viennese lilt and phrasing. Act IIAct III 24:28 12:09 ‹ ‚ - - ¡ › Johann (1825–1899) STRAUSS II STRAUSS (A Night in Venice) (A Night Eine Nacht in Venedig Eine Nacht Otto Ackermann in Kingsway Hall,in Kingsway London Philharmonia Orchestra and Chorus Philharmonia Orchestra ADD Act I 35:42 Overture 6:32 8.111254 ) Guido, of Urbino Duke ...... Gedda Nicolai Caramello ...... Erich Kunz Delacqua ...... Karl Dönch Pappacoda...... Klein Peter Annina ...... Elisabeth Schwarzkopf Ciboletta...... Loose Emmy Agricola ...... Hanna Ludwig Barbara ...... Hanna Ludwig Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark photo:Cover Elisabeth Schwarzkopf (Private Collection) www.naxos.com - Recorded 25th – 28th and 31st May and 25th September,May 25th – 28th and 31st Recorded 1954 2 1

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NAXOS Historical J. STRAUSS II: Eine Nacht in Venedig 8.111254