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of bringing his mistress to the villa, where his wife is. mistress. § He assures Franzi that he will prevent the The Count tries to urge his wife away. ^ She knows Count taking his supposed mistress, his wife, to Johann her husband is up to something, while the Count tries to Hietzing; the Countess will go to Hietzing with him. He find a way out of the situation and the Prime Minister introduces the two women to each other, as the continues to express his disapproval. Franzi’s arrival Countess joins them, presenting the Countess as STRAUSS II does nothing to help matters, but the Count asks the Demoiselle Cagliari and Franzi as the Countess, to the Prime Minister to say the lady is his wife; he agrees, but amusement of both of them. The Countess, however, presents the Countess as his wife, still believing that thinks that Pepi is her husband’s mistress, Franzi Franzi is the Countess. Cagliari. Josef is called on to resolve the difficulty, but Wiener Blut complicates matters by assuring them that none of the Act II three is Franzi, telling Pepi to keep quiet, when she SCHW seems about to reveal something of the truth. It seems TH AR & At Count Bitowski’s ball the Countess suggests to that the arrival of the Count may help, but he turns the BE Z A K her husband that the woman at the villa must have been whole thing into a joke. ¶ When the majordomo calls S O his mistress. The Count explains that Franzi was in fact for the ladies to assemble in order of rank, the Prime I P * L F a former mistress of the Prime Minister. They Minister and Franzi are amazed to find the identity of E discuss their marriage, her earlier life in her parents’ the real Countess. • The act ends in a song and dance, mansion, and his good fortune in marrying her. ( The to familiar strains. Countess, though, is from Vienna, and the Count from Reuss-Greiz-Schleiz, lacking the spirit of Vienna; he Act III had changed, however, from a solid man into a real Don Juan, forgetting his origins, and living, people say, with ª The third act is set at Hietzing, opening in general mistresses. ) The Count feels that he is falling in love enjoyment. º The Countess and the Prime Minister are with his wife, while Franzi, who has appeared, thinks together, the latter uneasy at what is happening. ⁄ The the woman at the villa must be the Count’s mistress. Count appears, resolved to make the most of his ¡ He sees Pepi and gives her the note that Josef had assignation with Pepi, observed by Josef and Franzi. written for him. She recognises the writing, imagining ¤ The Count urges Pepi to drink champagne with him, it is Josef who is proposing a meeting at the Hietzing as one only lives once. Franzi and the Countess discuss celebration that evening. Josef comes in, preoccupied men’s fidelity. ‹ The Count and Pepi whisper together, with his duties, and telling her that he is too busy to but Josef is horrified to find that it is his Pepi that the 1 g meet her at Hietzing. ™ He tries to mollify her, but Count has arranged to meet. The Count is confronted by 954 Recordin leaves. £ She now realises that the note she has read his wife, and as all complexities are finally resolved, the was really from the Count, and she will accept the Prime Minister puts the whole thing down to Wiener invitation. ¢ The Prime Minister warns Kagler that his Blut, Viennese Spirit. › The act ends in praise of the daughter is being deceived by the Count with another spirit of Vienna. woman. The Countess sees Pepi and her husband, and Elisabeth Schwarzkopf • Nicolai Gedda • Erich Kunz thinks she must be Franzi. She asks the Count to take Keith Anderson her to Hietzing, but he tells her he has work to do with Emmy Loose • Erika Köth • Karl Dönch the Prime Minister, using the same excuse to Franzi, when she asks the same thing. ∞ The Prime Minister Philharmonia Orchestra and Chorus persuades the Countess to accompany him, still supposing that the real Countess is Franzi, the Count’s Otto Ackermann

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Prime Minister Ypsheim-Gindelbach, while the two stood the test of time, as well as enshrining the art of Great Operetta Recordings Viennese spitfires, Franzi and Pepi are admirably many of the finest post-war exponents of this elusive portrayed by Erika Köth (1927-1989) and Emmy repertoire. Loose (1914-1987). Otto Ackermann persuades the Johann Philharmonia Orchestra and Chorus to rival their David Patmore STRAUSS II colleagues in Vienna, to create a recording that has well (1825-1899) Synopsis Hietzing, but Josef has to work and cannot go with her. 0 The two girls discuss the dress that Pepi is arranging Wiener Blut Act I for Franzi’s appearance that evening. As they leave, the Prime Minister arrives, asking for the Count. Josef tells Operetta in Three Acts 1 The scene is the villa of Count Zedlau, ambassador him that the Count and Countess are out, only to be contradicted by Kagler, who has returned and imagines Arranged by Adolf Müller, Jr. of Reuss-Schleiz-Greiz to Vienna. The period is that of the Congress of Vienna. Josef, the Count’s manservant, that the reference is to his daughter Franzi, assuring the Libretto by Victor Léon and Leo Stein is anxiously trying to find his master, for whom he has Prime Minister that she is there. ! On Franzi’s return papers that require his immediate attention. He calls out she finds her father assuring the Prime Minister that she for the maid, Anna, who is equally elusive. 2 The is in, to Josef’s dismay. Franzi is flattered to receive a Prince Ypsheim-Gindelbach (Prime Minister) ...... Karl Dönch (baritone) Count’s mistress, the dancer Franziska Cagliari, visit from the Prime Minister, while he cannot Balduin Count Zedlau (Count) ...... Nicolai Gedda (tenor) appears, also seeking the Count. 3 She has not seen understand the Count’s behaviour in neglecting her, his Gabriele (Countess) ...... Elisabeth Schwarzkopf (soprano) him for five whole days and is bound to wonder what he supposed wife. Matters are further complicated by Count Bitowski ...... Karel Stepanek (speaking rôle) is up to, and suspects that he may be deceiving her. Kagler’s interventions, before he leaves, having offered Demoiselle Franziska Cagliari (Franzi) ...... Erika Köth (soprano) 4 They are interrupted by Franzi’s father, Kagler, a the Prime Minister the use of his horses. @ As the old & Hannah Norbert (speaking rôle) circus manager, who wants to make certain that his man goes, the Prime Minister admits that he cannot Kagler ...... Alois Pernerstorfer (speaking rôle) daughter is ready to perform at a ball at Count understand Viennese dialect too well, but Franzi assures Pepi Pleininger ...... Emmy Loose (soprano) Bitowski’s that night. He leaves, as the Count appears. him that it becomes easier, as time goes on. He tells her Josef ...... Erich Kunz (baritone) 5 The Count greets Franzi, who complains at being left that he is surprised that the Count has kept her hidden. alone for five days, wondering what new girl he may # Franzi tells him that she cannot complain, but the Prime Minister offers his sympathy; he has heard talk of Philharmonia Orchestra and Chorus have found. He assures her that he has been with his wife, as he must, to keep up appearances, but remains the Count’s affair with a dancer, Cagliari. She tries to Otto Ackermann devoted to the girl. She leaves, seemingly satisfied with tell him who she is, but the Prime Minister will not hear this explanation. 6 The Count tells Josef that he was her, having seen the Count with another woman that Recorded 21st-22nd, 26th-28th and 31st May, 1954 in Kingsway Hall, London seen with the Countess by the Prime Minister of Reuss- very day, driving with her in an open carriage; he tells First issued on Columbia 33CX 1186 and 1187 Schleiz-Greiz, Prince Ypsheim-Gindelbach, who her that these flirtations do not last and a man will in the presumed she was his mistress, not his wife. He has, in end return to his wife. Franzi leaves him, angry at the Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn any case, seen another girl, a mannequin, and wants to suggestion, and he realises that he has not handled arrange a meeting with her. Josef suggests that things diplomatically, as he goes. something might be possible that evening at Hietzing. $ To add further complication, at this point the 7 The Count makes Josef sit down and write a letter to Countess appears, pleased to see the familiar room as it the girl, making his feelings very clear. always was, recalling happier days there, and going out. 8 The Count leaves. At this point Pepi Pleininger, a % The Prime Minister returns, regretting his mannequin and Josef’s girl-friend, comes in. It is to her clumsiness. When the Countess comes back, the Prime that, unwittingly, Josef has written the Count’s letter. Minister berates her with her effrontery in coming there. 9 She is going that evening to the celebration at The Count appears, to be accused by the Prime Minister

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Ackermann for Legge in this series, all featuring Opera and the Metropolitan Opera in New York. Act I 32:25 ^ Nein, nein, daraus werd’ ich nicht klug ... 1:43 Elizabeth Schwarzkopf, Nicolai Gedda and Erich Kunz Towards the end of her operatic career she concentrated Ja, ja, Gefahr ist im Verzug ... Der Graf der treibt ... in the leading rôles, included The Gypsy Baron and A on a limited number of parts, notably the Marschallin, 1 Anna, Anna, Anna! 2:41 (Countess, Count, Prime Minister, Franzi) Night in Venice, both by Johann Strauss, and The Merry Fiordiligi, Donna Elvira, and the Countess in The (Josef) Widow and The Land of Smiles, both by Franz Lehár. Marriage of Figaro. She married Walter Legge in 1953. Act II 25:51 Shortly before his death Ackermann also conducted a The Swedish tenor Nicolai Gedda (b. 1925) was 2 Pepi! Er? 0:52 less well-known edition of Die Fledermaus for Legge, born in Stockholm to Russian and Swedish parents. (Franzi, Josef) & Mein lieber Graf ... 0:30 recorded in stereo. Following a period of vocal study at the Royal (Dialogue) Otto Ackermann (1909-1960) studied at the Royal Academy of Music in Stockholm, he made his début in 3 Fünf volle Tag’... 1:33 (Franzi, Josef) * Das eine kann ich nicht verzeih’n 1:07 Academy of Music in Bucharest and at the High School 1951. He soon caught the attention of Walter Legge, (Countess, Count) for Music in Berlin. A natural musician, by the age of who did much to help develop his career through 4 Er hat mir also die Wahrheit gesagt? 1:05 fifteen he was conducting a tour of the Royal Romanian numerous recordings. Gedda quickly established a (Dialogue) ( Ich war ein echtes Wiener Blut ... Wiener Blut! 4:24 Opera. Three years later, in 1927, he was appointed to significant operatic career, making his début at La (Countess/Count) the post of conductor at the Opera House in Düsseldorf. Scala, Milan, in 1953, followed by appearances in 5 Gruß Gott, mein liebes Kind! 3:43 He remained there until 1932, when he moved to Brno London, Paris, and New York. He created the part of (Count, Franzi) ) Ich fürchte, ich verlieb mich noch in Czechoslovakia to take up a similar position. From Anatol in Samuel Barber’s opera Vanessa in the first in meine eigene Frau 0:33 1935 to 1947 he was the musical director at the performances conducted by Dmitri Mitropoulos at the 6 Verzeihung, Exzellenz, die Akten ... 1:31 (Dialogue) municipal theatre of Berne in Switzerland. After World Metropolitan Opera, New York, in 1958. A singer of (Dialogue) War II he held two significant appointments, partly in remarkable versatility, whose voice seemed unaffected ¡ So nimm, mein süßer Schatz ... parallel: first that of conductor at the Vienna State by the passage of time, Gedda was still recording in 7 Na, also schreib’ und du’ nicht schmieren! Die Schrift, die kenn’ ich ... 3:24 Opera, from 1947 to 1952, and second, that of general 2002. (Count, Josef) 3:50 (Count, Pepi, Josef ) music director at the Zürich Opera, from 1949 to 1955. The Austrian baritone Erich Kunz (1909-1995) 8 Wenn mich die Demoiselle fragt 0:11 ™ Geh’ schau, mein liebes Schatzerl 1:35 This was followed by a return to Germany as general was born in Vienna, where he studied singing with Theo (Josef, Pepi) music director at the Cologne Opera, from 1955 to Lierhammer and Hans Duhan. He made his operatic (Dialogue) 1958. Subsequently he returned to his old post at début as Osmin in Mozart’s Die Entführung aus dem 9 Wünsch’ guten Morgen, Herr von Pepi! 1:52 £ Er ist fort? Wirklich fort? 0:49 Zürich. Throughout the post-war period he appeared in Serail at Troppau in 1933. He was a member of the (Pepi, Josef) (Pepi) many of Europe’s major opera houses as a distinguished chorus of the Glyndebourne Festival Opera in 1935. guest. After spells with the opera companies of Plauen (1936- 0 Endlich ist Sie da, Mamsell 1:36 ¢ O der Herr Fürst! 2:02 The German soprano Elisabeth Schwarzkopf 37) and Breslau (1937-41) he joined the Vienna State (Dialogue) (Dialogue) (1915-2006) studied at the Berlin High School for Opera in 1940, where he soon established himself as a Music and with the soprano Maria Ivogün. She made firm favourite with local audiences, and appeared at the ! Da ist sie ja! 1:41 ∞ Durchlaucht! 3:01 her stage début in 1938 as a Flower Maiden in Parsifal Salzburg and Bayreuth Festivals in 1943. His first (Kagler, Prime Minister, Josef, Franzi) (Countess, Prime Minister) at the Städtische Oper, Berlin. She moved to the Vienna appearance in London, like that of Schwarzkopf, was as State Opera in 1943, then under the direction of Karl a member of the Vienna State Opera on its 1947 visit. @ Ein sehr jovialer alter Herr 0:42 § Ich habe gewonnen, ich habe gesiegt 5:57 Böhm, where she sang light soprano rôles. Following He returned to Glyndebourne in 1950 to sing Guglielmo (Prime Minister, Franzi) (Prime Minister, Franzi, Countess, Pepi, Josef, Count) her appearances with this company in London in 1947, in Così fan tutte. Between 1952 and 1954 he was a # ¶ Das ist die Gräfin? 0:49 she was engaged by the newly-formed Covent Garden member of the company of the Metropolitan Opera in Ich kann mich nicht beklagen 3:41 (Prime Minister, Franzi) (Prime Minister, Franzi, Countess, Pepi, Count, Chorus) Opera Company, where for five seasons she sang many New York. Possessed of a most ‘gemütlich’ personality, different parts, mostly in English. Later she created he was an ideal exponent of both Viennese operetta and $ Es hat dem Grafen nichts genützt ... • Die Wienerstadt, sie hat ein Symbol 1:39 there the character of Cressida in the first performances popular songs. Grüß dich Gott ... (Count, Chorus, All) of Walton’s opera Troilus and Cressida, given in 1954. A firm believer in the musical traditions of Berlin (Countess) 3:37 During this period her international career developed, and Vienna, Legge surrounded his principal singers in with appearances in Europe at La Scala, Milan, and the this recording with a stellar cast of supporting artists. % Ich klopfte ganz vergebens 2:05 Salzburg Festival, and in America at the San Francisco Karl Dönch (1915-1994) epitomizes the lecherous (Prime Minister, Countess, Count) 8.111257 63 8.111257 111257 bk Wiener Blut EU 3/15/07 11:16 AM Page 4

Act III 11:27 ¤ Stoß an, stoß an, du Liebchen mein 1:29 Johann Strauss II (1825-1899) (Count, Pepi, Countess, Franzi, Prime Minister, Josef) Wiener Blut ª Geht’s und verkauft’s mei G’wand 1:39 (Two Maidens, Host, Countess, Prime Minister) ‹ Nein, nein, Herr Graf! 2:48 The first performances of Wiener Blut took place on attempts to keep all his relationships in balance at the same (Dialogue) 26th October, 1899, at the Carl Theatre, Vienna, four time results in a confusion not uncommon to the world of º So kommen Sie und zögern Sie nicht länger 1:32 months after the death of Johann Strauss II. The Viennese operetta, which is made even more chaotic (Countess, Prime Minister) › Wiener Blut! 0:51 commission for the intended work had come from Franz through the involvement of the aged but amorous Prime (All) Jauner, the manager of the Carl Theatre. The original Minister, Prince Ypsheim-Gindelbach. After much ⁄ Hier sind die Lauben 3:08 idea for the operetta, the title of which was taken from intrigue, many misunderstandings, and numerous false (Count, Franzi, Josef, Pepi) one of Strauss’s most popular waltzes, was for the identities, Zedlau realises that his heart belongs to creation of a stage work that made use of melodies from Gabriele, who generously forgives him for his old and overlooked compositions by Strauss. With the numerous amatory indiscretions. composer’s approval the task of selecting and arranging The setting of words to Strauss’s orchestral the music was carried out by Adolf Müller, Junior, the compositions is not at all inappropriate: The Blue house conductor at the Theater an der Wien. The book Danube itself started out as a work for chorus. Strauss Producer’s Note was provided by Viktor Léon, Jauner’s chief director at himself admitted having composed the music for the Carl Theatre, and Leo Stein, who was to become one another of his finest operettas, A Night in Venice, having The present transfer was made from German LP pressings. A couple of instances of dropout appear to be inherent of the most experienced authors of operetta plots in only seen the words of the vocal numbers, and not the in the original master tape. Vienna. A later libretto for which Léon and Stein were substantial connecting dialogue. When he discovered Mark Obert-Thorn responsible was that of Lehár’s highly successful The what the plot was actually about, at the final rehearsals, Merry Widow, first performed in Vienna on 30th he admitted to a friend that he was horrified. In Wiener December 1905. Jauner had high hopes for Wiener Blut Blut Adolf Müller’s handling of his wide-ranging and staged a lavish production. The first night, however, source material is free but effective. His skill can be was a fiasco, and after only thirty performances, it was seen for instance in the way that he links Wine, Woman taken off the Carl Theatre’s programme, to make way and Song to The Blue Danube in the finale of Act II; and for The Geisha by Sidney Jones. Bankrupted by the in the duet for Pepi and Josef in Act I, which makes use production’s failure, Jauner shot himself on 23rd of the polka Leichter Blut, Müller introduces a sparkling February 1900. Five years later, with a slightly adjusted key change that might well have been by Strauss. Other book and score, Wiener Blut was revived at the Theater well-known compositions by Strauss that he used an der Wien, where it was an unexpected success. It include the waltzes Tales from the Vienna Woods in the entered the repertoire of the Vienna Volksoper in 1928, Introduction, and Morning Papers in Gabriele’s where it has remained ever since. entrance aria in Act I. Another effective arrangement of Léon and Stein’s book is set at the time of the Congress Strauss’s melodies for the stage is 1,001 Night’s, a re- of Vienna, 1814-1815, a major international conference working of his first operetta Indigo and the Forty that sought to settle Europe after the upheavals of the Thieves. 1,001 Nights was first performed at the Napoleonic Wars. This in reality has little to do with the Volksoper in Vienna on 27th October 1907, with a new traditional operetta plot of mistaken identities, richly larded libretto by Leo Stein - one of the authors of the book for with many recognisable Viennese characters in a setting Wiener Blut - and Carl Lindau, and with musical re- that reflects the era of Biedermeyer and bourgeois comfort, arrangements by Ernst Reiterer. but which also pays clear homage to the later world of Walter Legge’s production of Wiener Blut, Strauss’s greatest operetta Die Fledermaus. In brief the recorded in London during May 1954, formed part of a ambassador Count Zedlau, although married to Gabriele, is set for the Columbia label conducted by the great having affairs with both the ballerina Franzi and the model Romanian maestro Otto Ackermann, a major figure in Pepi. Pepi in turn is engaged to his valet Josef. Zedlau’s the post-war operatic world. Other operettas directed by

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8.111257 8 NAXOS Historical J. STRAUSS II: Wiener Blut 8.111257 Time 69:43 Playing features the ideal vocal features One of the legendary of operetta series Legge Walter by produced recordings in the Orchestra with the Philharmonia 1950s,early this classic account of Wiener Blut partnership of soprano Elisabeth and tenor Nicolai Gedda, Schwarzkopf their powers. both at the height of in provided Viennese charm is Vienna State Opera stars abundance by and Karl Dönch,Erich Kunz with Erika portraying Loose vividly Köth and Emmy Viennese spitfires, glamorous the two Franzi and Pepi.The performance whole Ackermann, Otto led by is masterfully post-war conductors one of the greatest repertoire. of this elusive Act III 11:27 › - ª Johann (1825–1899) Wiener Blut Wiener STRAUSS II STRAUSS Otto Ackermann in Kingsway Hall,in Kingsway London Philharmonia Orchestra and Chorus Philharmonia Orchestra ADD Act II 25:51 Act I 32:25 8.111257 Recorded 21st-22nd,Recorded 26th-28th and 31st May, 1954 • ^ Prince Ypsheim-GindelbachPrince ...... Karl Dönch ZedlauBalduin Count ...... Nicolai Gedda Gabriele ...... Elisabeth Schwarzkopf Count Bitowski ...... Stepanek Karel Demoiselle Franziska Cagliari...... Köth Erika Kagler ...... Alois Pernerstorfer PleiningerPepi ...... Loose Emmy Josef ...... Erich Kunz Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark www.naxos.com photo:Cover Elisabeth Schwarzkopf (Private Collection) - - & 1

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NAXOS Historical J. STRAUSS II: Wiener Blut 8.111257