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CHAN 3088 CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3088 BOOK.qxd 21/5/07 5:21 pm Page 2 Bill Cooper Bill

Bruce Ford sings Viennese Operetta

Bruce Ford

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Time Page Time Page Franz Lehár (1870–1948) Franz Lehár from The Land of Smiles from The Land of Smiles 1 ‘You are my heart’s delight’ 3:53 [p. 48] 6 ‘Patiently smiling’ 5:20 [p. 52] (Dein ist mein ganzes Herz) (Immer nur lächeln) Pieter Schoeman violin solo Johann Strauss II Jacques Offenbach (1819–1880) from The Gipsy Baron from La Belle Hélène 7 ‘Since I was left an orphan lad’ 2:58 [p. 52] 2 ‘On Mount Ida’ 3:47 [p. 48] (Als flotter Geist, doch früh verwaist) (Au Mont Ida) with Geoffrey Mitchell Choir

Johann Strauss II (1825–1899) Carl Zeller (1842–1898) from The Gipsy Baron from The Birdseller 8 ‘My old father years ago’ 4:17 [p. 53] 3 ‘Who made us one?’ 3:55 [p. 49] (Wer uns getraut?) (Wie mein Ahn’l zwanzig Jahr) with Helen Williams soprano and Geoffrey Mitchell Choir with Geoffrey Mitchell Choir Robert Stolz (1880–1975) Emmerich Kálmán (1882–1953) from The Song is Done from Countess Maritza 9 ‘Don’t ask me why I’m leaving’ 4:41 [p. 53] 4 ‘Play, gipsy’ 5:41 [p. 50] (Frag’ nicht, warum ich gehe) (Komm, Zigan) Oscar Straus (1870–1954) Johann Strauss II from A Waltz Dream from A Night in Venice 10 ‘Softly, so softly’ 4:53 [p. 54] 5 ‘Love is a delicate flower’ 3:14 [p. 51] (Leise, ganz leise) (Ach, wie so herrlich zu schaun) with Alan Opie baritone

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Time Page Time Page Franz Lehár Franz Lehár from Giuditta from The Land of Smiles 11 ‘Comrades, this life is the life for me!’ 3:23 [p. 55] 15 ‘Love! What has given you this magic pow’r?’ 6:15 [p. 57] (Freunde, das Leben is lebenswert!) (Wer hat die Liebe uns ins Herz geschenkt?) with Geoffrey Mitchell Choir and Pieter Schoeman violin solo with Helen Williams soprano and Pieter Schoeman violin solo

from The Czarevitch Robert Stolz 12 ‘Alone, always alone’ (Volga Song) 5:21 [p. 56] 16 ‘We met in Vienna, my true love and I’ 4:47 [p. 58] (Allein, immer allein) (In Wien hab’ ich einmal ein Mädel geliebt)

Emmerich Kálmán Franz Lehár from Countess Maritza from The Merry Widow 13 ‘Heavens, what’s happ’ning to me?’ 3:27 [p. 56] 17 ‘Words forbidden’ 3:20 [p. 58] (Herrgott, was ist denn heut’ los?) (Lippen schweigen) with Helen Williams soprano with Helen Williams soprano TT 74:45 14 ‘Vienna mine’ 4:19 [p. 57] (Grüss mir mein Wien) Bruce Ford tenor London Philharmonic Orchestra Pieter Schoeman leader Walter Weller

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other operettas which have held their place in wandering in foreign parts, in order to claim Great Operetta Arias the repertoire, at least in continental Europe. the estate which his father had been forced to A Night in Venice (Eine Nacht in Venedig) relinquish when he had been banished years In the world of opera one of the most the real progenitor of Viennese operetta, who (1883) suffers from a sprawling libretto which before for allegedly collaborating with the frequently debated questions is that of the happened to be a Parisian of German origin, various subsequent hands have attempted to invading Turks. With his entrance song ‘Since language in which performances should be namely Jacques Offenbach (1819–1880). After knock into shape, but musically it contains I was left an orphan lad’ (track 7 ) Barinkay, given – is it better to sing in the original his all-conquering triumph with Orpheus in the many delightful numbers of which ‘Love is a one of life’s irrepressible extroverts, entertains language, or in that of the audience? There are Underworld (1858) he returned to the send-up delicate flower’ (track 5 ) is a typical example. the locals with an imaginative account of how cogent arguments on both sides and by now of Greek mythology with La Belle Hélène Caramello, lackey and personal barber to the he has spent the intervening years. He they are somewhat over-familiar, but in the (The Beautiful Helen) (1864), a hilarious philandering Duke of Urbino, mistakenly subsequently scandalises the Royal case of operetta the situation is different. rewrite of the story of the Trojan War. In his believes that his master’s latest conquest is Commissioner for the area by taking a gipsy Writing as one who has had the pleasure of entrance song ‘On Mount Ida’ (track 2 ) Paris, Caramello’s own fiancée. With bitter irony he bride. ‘Who performed the service?’ asks this appearing in a wide range of Viennese who started all the trouble, tells the familiar muses on the unreliability of the fair sex, even formidable dignitary, ‘and who were your operettas in several different countries, story, in distinctly unhomeric terms, of the going so far as to borrow from the Duke in witnesses?’ In the duet ‘Who made us one?’ sometimes in German and sometimes in three goddesses and their beauty contest. Rigoletto that familiar phrase ‘La donna è (track 3 ) Barinkay, assisted by his bride Saffi, translation, I am convinced that stage So successful were the opéras bouffes of mobile’ (‘Woman is fickle’). explains that they were married according to productions can only be truly effective in the Jacques Offenbach when they started to With The Gipsy Baron (Der Zigeunerbaron) gipsy custom, with the birds of the air language of the audience. For one thing, in appear in pirated versions in Vienna in the late (1885) Strauss registered his greatest success officiating and a nightingale acting as the classical operetta the story usually unfolds via 1850s that various Viennese composers, apart from Die Fledermaus. It was his secret choir. extensive scenes of spoken dialogue, often observing that there was money in this hope that with its brilliant scoring, its double Suppé, Strauss and a third composer, Karl involving verbal comedy, and for another it is operetta business, decided to try their hands at choruses, and its wonderfully constructed Millöcker (1842–1899) were the leading lights essential that the leading singers should build it too. In the vanguard was Franz von Suppé finales to Acts I and II, quite apart from its of what came to be known as the Golden Age up a very direct personal contact with (1819–1895), whose Die schöne Galathée is general glorification of the Austro-Hungarian of Viennese operetta, but many successful audiences – something which is hard to generally regarded as the first really successful Empire, it might open the doors of Europe’s pieces also flowed from other pens, such as achieve if they can understand neither what Viennese operetta, and hard on his heels came opera houses. In this he was disappointed, The Birdseller (Der Vogelhändler) (1891) by one is saying nor what one is singing. the still more brilliantly talented Johann though the piece certainly requires fully Carl Zeller (1842–1898), a brilliantly gifted The current Bruce Ford recital consists Strauss II (1825–1899). fledged operatic singing if justice is to be done amateur who, in his professional persona, was almost exclusively of operetta of the Viennese Though Strauss never trumped the success to it. The title-hero, Sandor Barinkay, comes a civil servant in the Ministry of Arts and brand, the one exception being a number by of Die Fledermaus (1874) he wrote several back to his native Hungary after years of Education. This time our hero is Adam, a

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simple birdseller from the Tyrol, who, through and Danilo, a romantic pair who, somewhat In The Land of Smiles (Das Land des open his role on a high A natural: ‘Comrades, a chain of misunderstandings, becomes like Beatrice and Benedict, bicker their way to Lächelns) (1929) Tauber became Prince this life is the life for me!’ (track 11 ). romantically embroiled with a Rhineland the final happy ending. In a fit of pique Danilo Sou-Chong, Chinese ambassador to Vienna, Lehár’s exact contemporary, Oscar Straus princess. His most popular solo, ‘My old has declared that he will never allow the words who falls in love with the young countess (1870–1954), wrote A Waltz Dream (Ein father years ago’ (track 8 ), in fact has nothing ‘I love you’ to pass his lips, and even to one of Lisa. Arriving at a ball given for her by her Walzertraum) (1907) with the express to do with the plot; it is simply a number in Lehár’s most perfect melodies – ‘Words parents he expresses his trepidation; can she intention of rivaling the record initial run of folk-song style which he sings to entertain the forbidden’ (track 17 ) – he still just manages to possibly love someone as different as himself, The Merry Widow, which, in Vienna at least, it guests at a party. restrain himself. or will he have to fall back on the traditional succeeded in doing. The piece is really a hymn By the end of the nineteenth century Suppé, By the mid-1920s Lehár’s style had Chinese solution of smiling at grief? ‘Patiently to the memory of the old romantic Vienna Strauss and Millöcker had all died and the craze undergone a radical change. He had started smiling’ (track 6 ). To his delight Lisa returns which by then was slipping irretrievably into for operetta, which had become so much part writing all his leading tenor roles for the great his love, and they travel together to Peking, the past; indeed one or two of the characters of social life in Vienna, appeared to be running operatic tenor Richard Tauber, and though where they become man and wife. All is in A Waltz Dream could almost have stepped out of steam. On 28 December 1905, however, Tauber’s voice was a bewitchingly romantic apparently serene – ‘Love! What has given you out of the plays and short stories of that great an event occurred which put this trend into instrument, in his physical appearance he was this magic pow’r?’ (track 15 ) – but in due chronicler of Viennese social life Arthur reverse and which inaugurated the so-called by no means the conventional matinee idol. course it emerges that East is still East and Schnitzler. Before the operetta opens the fun- Silver Age of Viennese operetta. This was the Instead of the usual ‘boy gets girl at final West is still West, though luckily not before loving Lieutenant Niki had been appointed opening night of The Merry Widow, (Die curtain’ dénouement the tradition arose for Sou has sung the most celebrated of all the attendant to Helene, daughter of the ruler of lustige Witwe), by Franz Lehár (1870–1948), a unhappy endings, with Tauber heroically so-called Tauberlieder ‘You are my heart’s Flausenthurn, a provincial principality in piece which created an international sensation renouncing the path of love for that of duty. delight’ (track 1 ). Germany, while her father was on an official unprecedented even by Fledermaus standards. In In The Czarevitch (Der Zarewitsch) (1927) With his last stage work, Giuditta (1934), visit to Vienna. She fell in love with Niki, and the same way that the Italian verismo Tauber appeared as the heir to the throne of Lehár succeeded where Strauss had failed: its in Act I he has just become her husband, composers were writing operas about ordinary Russia, a moody young man who is initially world premiere was given in the Vienna State without having fully realised what a mind- people rather than kings, queens and high more interested in military matters than in Opera. Almost a Spieloper rather than an blowingly boring place Flausenthurn would priests, The Merry Widow introduced real flesh- amorous adventures. In his opening solo operetta, it tells a Carmen-like story about a turn out to be. He should be in the bridal and-blood characters into operetta, abandoning ‘Alone, always alone’ (track 12 ) he equates young soldier brought low by a femme fatale. chamber attending to his dynastic duties, but, the kind of theatrical convention which himself with a sentry standing guard on the In his entrance song, however, Octavio has no as he tells his best man, he has just heard, allowed, say, Eisenstein in Die Fledermaus not banks of the Volga, a frame of mind which is presentiment of the catastrophe which lies in floating through the window of his apartment to recognise his own wife at a masked ball. The to alter remarkably when he encounters the wait. Life is for living, he tells his friends, and from the public park below, the sound of a leading couple in The Merry Widow are Hanna lovely Sonja. such is his exuberance that he goes so far as to real Viennese band playing a real Viennese

10 11 CHAN 3088BOOK.qxd21/5/075:21pmPage12 Kálmán (1882–1953) madetooperetta, apart Kálmán (1882–1953) consisting oftwofiddles,accordion andguitar. recording, by theclassicSchrammelQuartet, Vienna, accompanied,asisthepresent Heuriger they were basicallywrittentobesunginthe and thatconcealsart, their effectontheart may sound,thebest ‘We metin Vienna, love mytrue andI’(track called genre ofwhichStolz wasamastertheso- The Song isDone –inthisinstanceafilmentitled industry saw thelightofdayviaBerlin film ),first ‘Don’t askmewhyI’m leaving’ (track individual songs,manyofwhich,suchas the composerofliterallyhundreds of Singspiele Though hewrote well over sixtyoperettas and position intheannalsof Viennese lightmusic. occupiesaunique Robert Stolz (1880–1975) career spannednolessthanseventy-five years, ). results… ‘Softly, sosoftly’ (track of freedom? They doso,butwithdisturbing charm andgodown togetherforonelastbreath waltz. Might theynotsurrender toitsdreamy 16 The specialcontributionwhichEmmerich ) isamuch-loved example.Simple asthey As acomposerandconductorwhoseactive Wienerlied , thewine-gardens of ontheoutskirts he remains perhapsbestknown as , simply ‘Viennese Song’,, simply‘Viennese and ( Das Lied istaus Wienerlieder 10 depend for ). Another 9 12 Maritza exuberance ofhisnative Hungary. In Viennese sophistication withthepanacheand was thedegree towhichhecombined from hisinexhaustiblestrength asamelodist, operettas withhappyendings, andaftermany lost. Unlike Lehár, Kálmán wasstillwriting ).All,however, isnot ‘Play, gipsy’ (track to helphimassuagehisfeelingsofbitterness. mood ofself-pityhecallsonthegipsyviolinist wine outontheterrace,andinanuntypical Tassilo isobligedtoenjoy hislonelyglassof on. While they carouse withinthehouse accompanied by numerous wealthy hangers- when Maritza makesasurprisereappearance (track ). mine’the pangsofhomesickness.‘Vienna lifeforhimself,new hedoesundeniablysuffer that, thoughhehasbasicallymadeatolerable old armyfriend,towhom Tassilo confides Vienna have beenwoundupforhimby an mega-rich CountessMaritza. Tassilo’s affairsin Hungarian estateofanabsenteeowner, the assumed nameasmanagerofthevast War andhastakenemployment underan impoverished by thedebacleofFirst World Viennese aristocrat whohasbeen Count Tassilo Endrödy-Wittenburg, a Life becomesdistinctlymore complicated 14 ( Gräfin Mariza 4 ) (1924)ourhero is Countess

Bill Cooper evaluation ofmanybelcanto operas, bothon Ford inthere- hasbeeninstrumental composers. For more thanadecadeBruce demanding works ofMozart andthe and Europe, where hespecialisesinhighly in majorhousesthroughout North America expressive actingability. He isaregular guest style, andtechnicalprowess, aswell asforhis ). ‘Heavens, what’s happ’ning tome?’(track love duetanddancing anintoxicating waltz. tenors are supposedtodo–singinganecstatic tenor endupdoingexactlywhatsopranosand ingeniously contrived vicissitudessopranoand © 2002Nigel Douglas authoritative vividness, range, textual vocal beautyand extraordinary praise forhis earned high singers. He has most outstanding as oneoftoday’s firmly established Bruce Ford American tenor bel canto is 13 13 Rossini’s Glyndebourne ( (Rossini’s especially forhim,including The Royal Opera have revived unjustlyneglectedoperas Manydisc andinlive performances. venues and Serious Rossini onOpera RaraandGreat three solooperaticrecitals (Romantic Heroes Lammermoor including theoriginalversion of repertoire ondisc,withperformances Davis andDavid Parry, tonamebutafew. Bonynge, Sir Roger Norrington, Sir Colin Riccardo Muti, Sir CharlesMackerras, Richard worked withincludeClaudioAbbado, a sought-afterrecitalist. Conductorshehas and theAmsterdam Concertgebouw, andheis Scala, theEdinburgh Festival, CarnegieHall insuchrenownedperformances venues asLa Dallas Opera. Metropolitan Opera, LosAngelesOpera and vehicle forhisdebutsat The Royal Opera, the most frequently inhiscareer todate–wasthe barbiere diSiviglia and theSalzburg Festival. Almaviva in and Bologna;Maggio Musicale Fiorentino Scala, theoperahousesofNaples, Florence, Bruce Ford hasdocumented muchofhis His appearanceshave included concert Otello Otello under Sir CharlesMackerras; ). He has alsoappeared atLa ) andthefestivals of Ermione – therole hehasperformed ) andPesaro (Zelmira, Lucia di Il CHAN 3088 BOOK.qxd 21/5/07 5:21 pm Page 14

Operatic Arias for Chandos/Peter Moores Artistic Advisor and Principal Guest America, he has worked with such orchestras conducted a highly successful production of Foundation); and Opera Rara’s releases of rare Conductor of the National Orchestra of Spain. as the New York Philharmonic, Minnesota, Die Frau ohne Schatten. Other operas in operas of Mayr, Donizetti, Pacini, and Rossini, He was Artistic Director of the Allgemeine San Francisco, Houston, Pittsburgh, Detroit, concert have included Fidelio with the City of for which he receives consistently favourable Musikgesellschaft Basel, General Music Cincinnati and Toronto Symphony Birmingham Symphony Orchestra, Elektra reviews. Bruce Ford’s triumphant portrayals of Director of the Basel Theatre and Chief Orchestras, and the National Arts Centre and Der fliegende Holländer with the Royal Mozart’s Mitridate (The Royal Opera) and Conductor of the Basel Symphony Orchestra Orchestra, Ottawa. Scottish National Orchestra, and Eugene Oreste in Ermione (Glyndebourne) can be seen from September 1994 until July 1997, Operatic engagements have included Der Onegin in Copenhagen. on video/DVD. After nearly two decades on Principal Conductor of the Royal fliegende Holländer at La Scala, Ariadne auf Recordings include cycles of the Prokofiev stage, the tenor’s repertoire is still expanding, Philharmonic Orchestra from 1980 to 1985, Naxos and Der fliegende Holländer for English and Rachmaninov Symphonies, Bartók’s and he has recently added the title roles in and Music Director and Artistic Director to National Opera, Der Freischütz at Teatro Concerto for Orchestra, Janácˇek’s Lachian Mozart’s operas La clemenza di Tito and the Royal Liverpool Philharmonic from 1977 Comunale, Bologna, Prince Igor for Berlin Dances, Rachmaninov’s Symphony No. 1 Idomeneo. to 1980. At the age of twenty-one he was Staatskapelle, and Fidelio and Der Bruckner’s Symphony No. 4, and, for In recording this disc of operetta arias, appointed leader of the Vienna Philharmonic Rosenkavalier for Scottish Opera. He has also Chandos the Beethoven Symphonies and Bruce Ford had a chance to go back to the Orchestra, an orchestra he went on to conduct. undertaken concert performances at the Tivoli piano concertos (with John Lill), and the earliest part of his career in Germany where he He is regularly invited as guest conductor Festival. In his opening season with Basel, he Mendelssohn symphonies. appeared in many of the works featured here. by major orchestras throughout the world and has worked with the London Symphony Walter Weller was Orchestra, London Philharmonic, Music Director Philharmonia Orchestra, Dresden and Principal Staatskapelle, RSO Berlin, Leipzig Conductor of the Gewandhaus, Philharmonie Hamburg, Israel Royal Scottish Philharmonic Orchestra, Orchestre de Paris, National Orchestra Orchestre National de France, Orchestra del between January Teatro alla Scala Milan, Royal Concertgebouw 1992 and July Orchestra, Radio Philharmonic Orchestra 1997 and is now Holland, Tonhalle Zürich, Orchestre de la Conductor Suisse Romande, Swedish Radio, Stockholm Emeritus. He also Philharmonic, Oslo Philharmonic and holds the title of Helsinki Philharmonic Orchestras. In North

14 15 CHAN 3088BOOK.qxd21/5/075:22pmPage16 Tassilo inKálmán’s Countess Maritza Bruce Ford as

Photo: Private collection

Lehár’s the firstBritish production of from thesouvenir programme of Danilo andthewidowed Sonia, TalbotIllustration by Hughes of Mary Evans Picture Library The Merry The Merry Widow , 1907 CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 18

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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AKG London Session photo

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Galathée allgemein als erste wirklich Instrumentierung, den Doppelchören und den Große Operettenarien erfolgreiche Wiener Operette gilt, und dicht großartig gestalteten Finales zum ersten und auf den Fersen folgte ihm der noch begabtere zweiten Akt (ganz abgesehen von seiner Eine der meistdiskutierten Fragen der Bruce Fords vorliegendes Recital setzt sich Johann Strauß (Sohn; 1825–1899). generellen Verherrlichung des österreichisch- Opernwelt ist die, in welcher Sprache man die fast ausnahmslos aus Operetten der Wiener Obwohl Strauß den Erfolg seiner ungarischen Kaiserreichs) Zugang zu den Werke am Besten aufführt – sollte man in der Art zusammen – die einzige Ausnahme ist eine Fledermaus (1874) nie übertreffen konnte, Opernhäusern Europas verschaffen. In dieser Originalsprache singen oder in der, die das Nummer von dem wahren Vorläufer der schrieb er mehrere andere Operetten, die Hinsicht wurde er enttäuscht, obwohl das Publikum versteht? Es gibt auf beiden Seiten Wiener Operette, einem Pariser deutscher zumindest in Kontinentaleuropa ihren Platz Werk zweifellos echte Opernsänger braucht, dieser Auseinandersetzung stichhaltige Herkunft, nämlich Jacques Offenbach im Repertoire behaupteten. A Night in Venice wenn man ihm gerecht werden will. Der Argumente, die inzwischen allzu vertraut sind, (1819–1880). Nach seinem überwältigenden (Eine Nacht in Venedig) (1883) leidet unter Titelheld Sandor Barinkay kehrt nach aber im Bereich der Operette liegt der Fall Triumph mit Orpheus in der Unterwelt (1858) einem ausufernden Libretto, das mehrere jahrelanger Wanderschaft in der Fremde in etwas anders. Als jemand, der die Freude kehrte er mit La Belle Hélène (The Beautiful nachfolgende Bearbeiter in geeignetere Form seine ungarische Heimat zurück, um Anspruch gehabt hat, in den verschiedensten Ländern in Helen) (1864), einer urkomischen zu bringen versuchten, aber von der Musik her auf den Besitz zu erheben, den sein Vater hatte zahlreichen Wiener Operetten singend Neuinterpretation den Trojanischen Kriegs, enthält es viele wunderbare Nummern, für die aufgeben müssen, als er viele Jahre zuvor manchmal auf Deutsch, und manchmal mit zur Persiflage griechischer Mythologie zurück. “Love is a delicate flower” (Band 5 ) typisch wegen angeblicher Kollaboration mit den einer Übersetzung, aufgetreten zu sein, bin ich In seinem Auftrittslied “On Mount Ida” ist. Caramello, Lakei und Leibbarbier des als türkischen Eindringlingen verbannt worden zu der Überzeugung gelangt, dass (Band 2 ) erzählt Paris, der den ganzen Ärger Verführer bekannten Herzogs von Urbino, war. In seiner Auftrittsnummer “Since I was Bühnenaufführungen nur in der Sprache des ausgelöst hat, in ausgesprochen unhomerischer meint irrtümlicherweise, die neueste left an orphan lad” (Band 7 ) unterhält der Publikums ihre volle Wirkung entfalten Sprache die bekannte Geschichte von den drei Eroberung seines Herrn sei Caramellos eigene unerschütterlich extravertierte Barinkay die können. Einerseits entwickelt sich die Fabel in Göttinnen und ihrem Schönheitswettbewerb. Verlobte. Mit bitterer Ironie sinniert er über Einheimischen mit einer phantasievollen der klassischen Operette im Allgemeinen So erfolgreich waren Jacques Offenbachs die Unzuverlässigkeit des schönen Geschlechts Darstellung seiner Abenteuer der vergangenen mittels ausgedehnter gesprochener Dialoge, die opéras bouffes, als sie in Raubdrucken gegen nach und geht sogar so weit, vom Herzog aus Jahre. Danach brüskiert er den königlichen oft vom Sprachwitz leben, und andererseits ist Ende der 1850er-Jahre in Wien aufzutauchen Rigoletto jene bekannte Floskel zu entleihen: Kommissär des Bezirks, indem er eine es für die Sängern in die Hauptrollen begannen, dass verschiedene Wiener “La donna è mobile” (“Das Weib ist Zigeunerbraut freit. “Wer hat euch denn unerlässlich, ganz direkt Kontakt zum Komponisten meinten, mit diesen so wankelmütig”). getraut?”, fragt der formidable Würdenträger, Publikum aufzunehmen – was nur schwer zu genannten Operetten ließe sich Geld machen, Mit The Gipsy Baron (Der Zigeunerbaron) “Und wer war Zeuge dabei?”. In dem Duett bewältigen ist, wenn es weder den und sich selbst daran versuchten. Einer der (1885) errang Strauß seinen größten Erfolg “Who made us one?” (Band 3 ) erklärt gesprochenen noch den gesungenen Text ersten von ihnen war Franz von Suppé neben der Fledermaus. Insgeheim hoffte er, das Barinkay mit Hilfe seiner Braut Saffi, dass sie versteht. (1819–1895), dessen Werk Die schöne Werk könne ihm mit seiner brillanten nach Zigeunerart getraut wurden, mit den

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Vögeln der Lüfte als Trauungsbehörde und einem Ereignis, das diesen Trend umkehrte begonnen, all seine Tenor-Hauptrollen für den Ausweg wählen müssen, angesichts seines einer Nachtigall als Chor. und das so genannte Silberne Zeitalter der großen Operntenor Richard Tauber zu Kummers immer nur zu lächeln? “Patiently Suppé, Strauß und ein dritter Komponist, Wiener Operette einleitete. Dies war die schreiben, und obwohl Taubers Stimme ein smiling” (Band 6 ). Zu seiner Freude erwidert Karl Millöcker (1842–1899), waren die Premiere der Merry Widow (Die lustige romantisch bezauberndes Instrument war, sie seine Liebe, und sie reisen zusammen nach führenden Persönlichkeiten des später so Witwe) von Franz Lehár (1870–1948), ein entsprach seine äußere Erscheinung nicht gerade Peking, wo sie Hochzeit halten. Scheinbar ist genannten Goldenen Zeitalters der Wiener Werk, dessen sensationeller Erfolg in aller Welt der eines jugendlichen Helden. Statt der alles in bester Ordnung – “Love! What has Operette, aber auch aus manch anderer Feder sogar die Fledermaus in den Schatten stellte. üblichen Auflösung “Junge kriegt Mädchen, given you this magic pow’r?” (Band 15 ) –, flossen erfolgreiche Werke, z.B. The Birdseller Ebenso, wie italienische Komponisten des wenn der letzte Vorhang fällt” wurden aber im weiteren Verlauf wird deutlich: Ost (Der Vogelhändler) (1891) von Carl Zeller Verismo Opern über einfache Leute statt über unglückliche Schlüsse immer üblicher, bei bleibt Ost und West bleibt West, aber das (1842–1898), einem hoch begabten Amateur, Könige, Königinnen und Hohepriester denen Tauber ob der Pflichterfüllung heldenhaft erweist sich glücklicherweise erst, nachdem der im Hauptberuf als Beamter im schrieben, so führte The Merry Widow der Liebe entsagt. In The Czarevitch (Der Sou das berühmteste aller so genannten Ministerium für Unterricht und Kultus tätig Figuren aus Fleisch und Blut in die Operette Zarewitsch) (1927) spielte Tauber den russischen Tauberlieder gesungen hat, “You are my heart’s war. Unser Held ist diesmal Adam, ein ein und verzichtete dabei auf jene Thronerben, einen launenhaften jungen Mann, delight” (Band 1 ). schlichter Vogelhändler aus Tirol, der durch Bühnenkonventionen, die es beispielsweise der anfangs mehr an Militärischem als an Mit seinem letzten Bühnenwerk Giuditta eine Verkettung von Missverständnissen in dem Gabriel von Eisenstein in der Fledermaus Liebesabenteuern interessiert ist. In seinem (1934) hatte Lehár Erfolg, wo Strauß romantische Verstrickungen mit der gestatteten, bei einem Maskenball seine eigene einleitenden Solo “Alone, always alone” gescheitert war: Die Uraufführung wurde an pfälzischen Kurfürstin gerät. Sein beliebtestes Frau nicht zu erkennen. Die Hauptfiguren in (Band 12 ) identifiziert er sich mit dem Soldaten, der Wiener Staatsoper gegeben. Einer Solo, “My old father years ago” (Band 8 ) hat The Merry Widow sind Hanna und Danilo, ein der am Flussufer Wache steht, doch wird sich Spieloper ähnlicher als einer Operette, erzählt an sich nichts mit der Handlung zu tun; es romantisch verknüpften Paar, die sich in der diese Einstellung bemerkenswert ändern, wenn das Werk die an Carmen gemahnende handelt sich lediglich um eine Nummer im Manier von Shakespeares Beatrice und er der lieblichen Sonja begegnet. Geschichte eines jungen Soldaten, der von volkstümlichen Stil, die er bei einem Fest zur Benedict auf ein Happy End hin zanken. In The Land of Smiles (Das Land des Lächelns) einer Femme fatale zugrundegerichtet wird. Unterhaltung der Gäste singt. einem Anfall von Verärgerung hat Danilo (1929) verwandelte sich Tauber in den Prinzen Doch in seinem Auftrittslied plagt Ocatavio Am Ende des neunzehnten Jahrhunderts erklärt, niemals würden ihm die Worte “ich Sou-Chong, der sich als chinesischer keine Vorahnung der Katastrophe, die ihn waren Suppé, Strauß und Millöcker alle liebe dich” über die Lippen kommen, und Gesandter in Wien in die junge Gräfin Lisa erwartet. “Freunde, das Leben ist lebenswert”, gestorben, und die Begeisterung für selbst zu einer von Lehárs berühmtesten verliebt. Als er bei einem Ball eintrifft, den erklärt er seinen Freunden, und sein Operetten, die zu einem so wichtigen Melodien – “Words forbidden” (Band 17 ) – ihre Eltern für sie geben, bringt er seine Überschwang verleitet ihn sogar dazu, seinen Bestandteil des Wiener Gesellschaftslebens kann er sich gerade noch beherrschen. Zweifel zum Ausdruck; kann sie denn Part auf einem hohen A anzustimmen: geworden war, schien allmählich zu verebben. Um die Mitte der 1920er-Jahre hatte sich jemanden lieben, der ihr so fremdartig ist wie “Comrades, this life is the life for me!” Am 28. Dezember 1905 kam es jedoch zu Lehárs Stil radikal gewandelt. Er hatte er, oder wird er den traditionellen chinesischen (Band 11 ).

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Lehárs gleichaltriger Zeitgenosse Oscar Fenster seines Appartements den Klang einer Grunde geschrieben, um in den Anhängern. Während sie im Hause zechen, ist Straus (1870–1954) schrieb die Operette echten Wiener Kapelle vernommen, die einen Heurigenwirtschaften der Wiener Vorstädte Tassilo zu einem einsamen Glas Wein auf der A Waltz Dream (Ein Walzertraum) 1907 in der echten Wiener Walzer spielt. Sollen sie sich gesungen zu werden, wie in der vorliegenden Terrasse verdammt, und in untypisch ausdrücklichen Absicht, es mit der Rekordzahl dessen träumerischem Charme hingeben und Aufnahme begleitet vom klassischen selbstmitleidiger Stimmung fordert er den von Aufführungen der ursprünglichen gemeinsam hinuntergehen, um einen letzten Schrammelquartett, das aus zwei Geigen, Zigeunergeiger auf, ihm beim Lindern Produktion der Merry Widow aufzunehemen, Hauch von Freiheit zu genießen? Sie tun es, Akkordeon und Gitarre besteht. seiner Verbitterung zu helfen: “Play, gipsy” was ihm zumindest in Wien auch gelang. Das doch mit beunruhigenden Folgen … “Softly, Der besondere Beitrag, den Emmerich Kálmán (Band 4 ) Doch noch ist nicht alles verloren. Werk ist im Grunde eine Hymne an das alte so softly” (Band 10 ). (1882–1953) zur Operettengattung leistete, ist Im Gegensatz zu Lehár schrieb Kálmán nach romantische Wien, das zu jener Zeit Als Komponist und Dirigent, dessen neben seiner grenzenlosen melodischen wie vor Operetten mit Happy End, und nach unwiderruflich verging; in der Tat könnte die Berufslaufbahn nicht weniger als fünfundsiebzig Schöpferkraft das Maß, in dem er Wiener vielen ausgeklügelt ersonnenen Wechselfällen eine oder andere Figur aus dem Walzertraum Jahre umspannte, gebührt Robert Stolz Kultiviertheit mit dem Elan und Überschwang finden Sopran und Tenor zusammen, um direkt den Theaterstücken und Erzählungen (1880–1975) eine einzigartige Position in den seiner ungarischen Heimat zu verbinden wusste. das zu tun, wozu Soprane und Tenöre Arthur Schnitzlers, jenes großen Chronisten Annalen der Wiener Unterhaltungsmusik. Der Held der Operette Countess Maritza (Gräfin ausersehen sind – sie singen ein ekstatisches des Wiener Gesellschaftslebens, entsprungen Obwohl er weit über sechzig Operetten und Mariza) (1924) ist Graf Tassilo Endrödy- Liebesduett und tanzen einen berauschenden sein. Vor dem Einsetzen der Handlung ist der Singspiele schrieb, ist er heute wohl am Wittenburg, ein Wiener Adliger, den das Debakel Walzer: “Heavens, what’s happ’ning to me?” lebenslustige Leutnant Niki zum Begleiter der bekanntesten als Verfasser von buchstäblich des Ersten Weltkriegs seines Vermögens beraubt (Band 13 ). Prinzessin Helene bestimmt worden, während hunderten von einzelnen Liedern, von denen hat, so dass er unter falschem Namen eine Stelle ihr Vater, der Herrscher des deutschen viele, wie “Don’t ask me why I’m leaving” als Verwalter der riesigen ungarischen Güter der © 2002 Nigel Douglas Duodezfürstentums Flausenthurn, sich zu (Band 9 ) das Licht der Welt vermittels der meist abwesenden, schwerreichen Gräfin Mariza Übersetzung: Anne Steeb/Bernd Müller einem Staatsbesuch in Wien aufhielt. Sie hat Berliner Filmindustrie erblickten – im annehmen musste. Tassilos Wiener sich in Niki verliebt, und im ersten Akt hat er vorliegenden Fall in einem Streifen namens Angelegenheiten werden für ihn von einem alten Der amerikanische Tenor Bruce Ford ist gerade mit ihr Hochzeit gefeiert, ohne sich so Das Lied ist aus. Ein weiteres Genre, das Stolz Freund aus der Militärzeit wahrgenommen, und zweifellos einer der herausragenden Sänger recht bewusst gewesen zu sein, als welch meisterhaft beherrschte, war das so genannte ihm vertraut Tassilo an, dass er nun zwar ein unserer Zeit. Die außergewöhnliche Schönheit unglaublich langweiliger Ort sich Flausenthurn Wienerlied, und “We met in Vienna, my true halbwegs erträgliches Auskommen hat, aber und der Umfang seiner Stimme, sein lebhafter erweisen würde. Er sollte eigentlich im love and I” (Band 16 ) ist dafür ein vielgeliebtes heftig unter Heimweh leidet: “Vienna mine” Textausdruck und souveräner Stil, sein hohes Brautgemach sein, um seinen dynastischen Beispiel. So unkompliziert sie auch klingen (Band 14 ). technisches und schauspielerisches Können Pflichten nachzukommen, aber wie er seinem mögen, beruht die Wirkung der besten Das Leben wird erheblich komplizierter, als haben die Kritik zu größtem Lob veranlasst. Kameraden und Trauzeugen mitteilt, hat er Wienerlieder doch auf ihrer kunstvoll die Gräfin Mariza sich unvermutet einstellt, An den berühmten Opernhäusern gerade aus dem Restaurationspark unter dem gestalteten Kunstlosigkeit, und sie wurden im begleitet von zahlreichen wohlhabenden Nordamerikas und Europas gastiert er

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regelmäßig in den anspruchsvollen Rollen Bruce Ford hat einen großen Teil seines España. Er war bei der Allgemeinen Philharmonikern, den Sinfonieorchestern von Mozarts und der Belcanto-Komponisten. Seit Repertoires auf Schallplatte festgehalten, so Musikgesellschaft Basel Generalmusikdirektor Minnesota, San Francisco, Houston, über einem Jahrzehnt hat Bruce Ford etwa Lucia di Lammermoor in der an der Oper und Musikddirektor des Pittsburgh, Detroit, Cincinnati und Toronto maßgeblich zu einer Neubewertung Originalversion unter Sir Charles Mackerras, Orchesters (September 1994 bis Juli 1997), sowie dem National Arts Centre Orchestra zahlreicher Belcanto-Opern beigetragen, drei Solo-Opernrecitals (“Romantische Helden” Chefdirigent des Royal Philharmonic von Ottawa gearbeitet. sowohl auf Schallplatte als auch in und “Rossini serio” auf Opera Rara und Orchestra (1980–1985) sowie Musikdirektor Zu seinen Opernverpflichtungen gehörten Livedarbietungen. Vielerorts sind zu Unrecht “Große Opernarien” für die Chandos/Peter und Künstlerischer Leiter beim Royal Der fliegende Holländer (Scala), Ariadne auf vernachlässigte Opern speziell für ihn Moores Foundation) sowie auf Opera Rara Liverpool Philharmonic Orchestra Naxos und Der fliegende Holländer (English inszeniert worden, so etwa an der Royal Opera selten aufgeführte Opern von Mayr, Donizetti, (1977–1980). Bereits mit 21 Jahren wurde er National Opera), Der Freischütz (Teatro Covent Garden (Rossinis Otello) und bei den Pacini und Rossini. Diese Aufnahmen werden zum 1. Konzertmeister der Wiener Comunale, Bologna), Prince Igor (Berliner Festspielen von Glyndebourne (Ermione) und immer wieder von der Kritik gewürdigt. Seine Philharmoniker ernannt, die er später auch Staatskapelle) sowie Fidelio und Der Pesaro (Zelmira, Rossinis Otello). Er ist auch Triumphe als Mozarts Mitridate (Royal Opera) dirigierte. Rosenkavalier (Scottish Opera). Außerdem hat an der Scala, den Opernhäusern von Neapel, und Oreste in Ermione (Glyndebourne) sind Walter Weller tritt regelmäßig als er Konzertaufführungen beim Tivoli Festival Florenz und Bologna, beim Maggio Musicale auf Video/DVD zu sehen. Selbst nach zwei Gastdirigent mit den großen Orchestern der geleitet. In seiner Eröffnungssaison in Basel Fiorentino und bei den Salzburger Festspielen Jahrzehnten auf der Bühne erweitert er ständig Welt auf und hat zahlreiche Orchester geleitet: dirigierte er eine hocherfolgreiche Inszenierung aufgetreten. Als Almaviva in Il barbiere di sein Repertoire, so etwa kürzlich durch die London Symphony Orchestra, London von Die Frau ohne Schatten. Andere Siviglia (die von ihm am häufigsten Titelrollen in den Mozart-Opern La clemenza Philharmonic Orchestra, Philharmonia konzertante Opernaufführungen waren Fidelio verkörperte Rolle) debütierte er an der Royal di Tito und Idomeneo. Orchestra, Staatskapelle Dresden, RSO Berlin, mit dem City of Birmingham Symphony Opera, Metropolitan Opera, Los Angeles Mit der vorliegenden Aufnahme von Gewandhausorchester Leipzig, Philharmonie Orchestra, Elektra und Der fliegende Holländer Opera und Dallas Opera. Operettenarien weckt Ford Erinnerungen an Hamburg, Israel Philharmonic Orchestra, mit dem Royal Scottish National Orchestra Bruce Ford hat Konzerte an der Scala, bei den Beginn seiner Karriere in Deutschland, wo Orchestre de Paris, Orchestre National de sowie Eugene Onegin in Kopenhagen. den Edinburgher Festspielen, in der Carnegie er in vielen dieser Werke aufgetreten ist. France, Orchestra del Teatro alla Scala Milan, Neben Gesamtaufnahmen der Sinfonien Hall und dem Concertgebouw Amsterdam Concertgebouw Orkest, Radio Filharmonisch von Prokofjew und Rachmaninow hat Walter gegeben und ist als Recitalkünstler vielgefragt. Walter Weller war von Januar 1992 bis Juli Orkest, Tonhalle Zürich, Orchestre de la Weller Bartoks Konzert für Orchester, die Dirigenten wie Claudio Abbado, Riccardo 1997 Musikdirektor und Chefdirigent des Suisse Romande, Sveriges Radios Lachischen Tänze von Janácˇek’s, Bruckners Muti, Sir Charles Mackerras, Richard Royal Scottish National Orchestra, von dem er Symfoniorkester, Kungliga Filharmonikerna, Sinfonie Nr. 4 und für Chandos die zehn Bonynge, Sir Roger Norrington, Sir Colin zum “Conductor Emeritus” ernannt wurde. Stockholm sowie die Philharmoniker von Oslo Sinfonien Beethovens und dessen Davis und David Parry haben mit ihm Außerdem ist er Künstlerischer Berater und und von Helsinki. In Nordamerika hat er mit Klavierkonzerte (mit John Lill) sowie die zusammengearbeitet. Chefgastdirigent des Orquesta Nacional de Orchestern wie den New York Mendelssohn-Sinfonien eingespielt.

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Strauss II (1825–1899) au talent encore plus hongrois, pourrait lui ouvrir les portes des Grands airs d’opérette brillant. théâtres lyriques européens. À cet égard, il fut Même si Strauss ne parvint jamais à déçu, bien que la pièce requiert sans aucun Dans le monde de l’opéra, l’un des sujets les viennoises, à l’exception d’un numéro signé du dépasser le succès de Die Fledermaus (1874), il doute un chant lyrique à part entière pour lui plus souvent controversés est celui de la langue véritable père de ladite opérette viennoise, qui écrivit plusieurs autres opérettes qui conservent rendre justice. Le héros du rôle-titre, Sandor dans laquelle doivent être données les se trouve être un Parisien d’origine allemande, leur place au répertoire, au moins en Europe Barinkay, revient dans sa Hongrie natale, après représentations – vaut-il mieux chanter dans la à savoir Jacques Offenbach (1819–1880). continentale. A Night in Venice (Eine Nacht in des années d’errance dans des pays étrangers, langue originale ou dans celle de l’auditoire? Il Après le total triomphe d’Orphée aux Enfers Venedig) (1883) souffre d’un livret afin de revendiquer le domaine que son père y a des arguments convaincants des deux côtés (1858), il retourna à la parodie de la interminable auquel diverses plumes ont tenté avait été contraint de céder des années et, de nos jours, ils sont un peu trop connus, mythologie grecque avec La Belle Hélène de donner forme, mais, sur le plan musical, cet auparavant après avoir été banni en raison mais, dans le cas de l’opérette, la situation est (The Beautiful Helen) (1864), version réécrite ouvrage contient plusieurs numéros charmants d’une prétendue collaboration avec les différente. Ayant eu le plaisir de me produire et désopilante de l’histoire de la Guerre de dont “Love is a delicate flower” (plage 5 ) envahisseurs turcs. Dans son air d’entrée dans un large éventail d’opérettes viennoises en Troie. Dans son air d’entrée “On Mount Ida” constitue un exemple typique. Caramello, “Since I was left an orphan lad” (plage 7 ), différents pays, chantant quelques fois en (plage 2 ), Pâris, qui est à l’origine de tous les laquais et barbier personnel du Duc d’Urbino, Barinkay se montre comme un irrépréssible Allemand et quelques fois à la traduction, je problèmes, raconte l’histoire bien connue des coureur de jupons, croit à tort que la dernière extraverti et divertit les gens du pays avec un suis convaincu que les productions scéniques trois déesses et de leur concours de beauté, en conquête de son maître est sa propre fiancée. récit imaginatif de la vie qu’il a menée au ne peuvent vraiment parvenir à leur effet que des termes sans aucun rapport avec Homère. Avec une ironie amère, il songe au manque de cours des dernières années. Il scandalise dans la langue du public. D’une part, dans Lorsqu’ils commencèrent à être représentés à sérieux du beau sexe allant jusqu’à emprunter ensuite le commissaire aux mœurs de la région l’opérette classique, l’histoire se déroule Vienne dans des versions piratées, à la fin des au Duc de Mantoue dans Rigoletto cette en prenant pour épouse une tzigane. “Qui généralement au travers de longues scènes de années 1850, les opéras bouffes de Jacques phrase bien connue “La donna è mobile” donc vous a uni?” demande ce redoutable dialogue parlé, qui impliquent souvent un Offenbach remportèrent un tel succès que (“Femme est inconstante”). dignitaire, “et qui furent les témoins?”. Dans élément comique verbal; d’autre part, il est plusieurs compositeurs viennois, constatant Avec The Gipsy Baron (Der Zigeunerbaron) le duo “Who made us one?” (plage 3 ), essentiel que les chanteurs qui tiennent les rôles qu’il y avait pas mal d’argent à gagner dans le (1885), Strauss remporta son plus grand succès Barinkay, assisté de sa femme Saffi, explique principaux établissent un contact personnel très domaine de l’opérette, décidèrent de s’y essayer en dehors de celui de Die Fledermaus. Il qu’ils ont été mariés selon la coutume tzigane, direct avec l’auditoire – ce qui est difficile à à leur tour. À l’avant-garde, il y eut Franz von nourrissait l’espoir secret que cet ouvrage, avec les oiseaux de l’air officiant et un rossignol réaliser si ce dernier ne peut comprendre ni ce Suppé (1819–1895), dont Die schöne Galathée son orchestration brillante, ses doubles chœurs jouant le rôle du chœur. qui se dit ni ce qui se chante. est généralement considérée comme la et ses finales des deux premiers actes Suppé, Strauss et un troisième compositeur, Le présent récital de Bruce Ford se compose première opérette viennoise qui ait remporté merveilleusement construits, hormis sa Karl Millöcker (1842–1899) comptent parmi presque exclusivement d’airs d’opérettes un réel succès, et, sur ses talons, vint Johann glorification générale de l’Empire austro- les protagonistes les plus actifs de ce que l’on

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appelle l’âge d’or de l’opérette viennoise, mais celui de Die Fledermaus. De même que les idolâtré par les femmes. Le dénouement deviennent mari et femme. Tout semble beaucoup d’autres bonnes pièces virent le jour compositeurs du vérisme italien écrivaient des habituel selon lequel “l’homme finit par apparemment serein – “Love! What has given sous d’autres plumes, notamment The opéras mettant en scène des gens ordinaires conquérir sa belle au rideau final” céda la place you this magic pow’r?” (plage 15 ) – mais le Birdseller (Der Vogelhändler) (1891) de Carl plutôt que des rois, des reines et des grands- à une tradition de fins malheureuses, Tauber moment venu il s’avère que l’Orient est Zeller (1842–1898), un amateur de grand prêtres, de même The Merry Widow introduisit renonçant avec héroïsme à la voie de l’amour toujours l’Orient et l’Occident toujours talent qui, dans sa vie professionnelle, était dans l’opérette des personnages réels, de chair pour suivre celle du devoir. Dans The l’Occident, ce qui n’arrive heureusement fonctionnaire au ministère des Arts et de et de sang, renonçant au genre de convention Czarevitch (Der Zarewitsch) (1927), Tauber qu’après que Sou ait chanté le plus célèbre de l’Éducation. Cette fois, notre héros est Adam, théâtrale qui permettait, par exemple, à était l’héritier du trône de Russie, un jeune tous les Tauberlieder “You are my heart’s simple oiseleur du Tyrol, qui, au travers d’une Eisenstein dans Die Fledermaus de ne pas homme lunatique davantage intéressé, dans un delight” (plage 1 ). succession de malentendus, se laisse entraîner reconnaître sa propre femme à un bal masqué. premier temps, par les affaires militaires que Avec sa dernière œuvre scénique, Giuditta dans une aventure romantique avec une Le couple principal dans The Merry Widow est par les aventures amoureuses. Dans son air (1934), Lehár réussit là où Strauss avait princesse rhénane. Son air le plus populaire, formé de Missia (Hanna dans les versions d’entrée “Alone, always alone” (plage 12 ), il se échoué: la création mondiale eut lieu à l’Opéra “My old father years ago” (plage 8 ), n’a en allemande et anglaise) et de Danilo, couple compare à une sentinelle en faction sur les d’État de Vienne. Cet ouvrage s’apparente fait rien à voir avec l’intrigue; il s’agit romantique qui, un peu à la manière de rives de la Volga, état d’esprit qui va évoluer de davantage au Spieloper qu’à l’opérette; il simplement d’un numéro dans le style de la Béatrice et Bénédict, ne cesse de se chamailler façon remarquable lorsqu’il rencontrera la belle raconte une histoire dans le style de Carmen, chanson traditionnelle qu’il chante pour jusqu’à l’heureux dénouement. Dans un accès Sonja. celle d’un jeune soldat tombé très bas à cause divertir les invités à une fête. de dépit, Danilo s’est juré de ne jamais laisser Dans The Land of Smiles (Das Land des d’une femme fatale. Toutefois, dans son air À la fin du XIXe siècle, Suppé, Strauss et les mots “Je vous aime” franchir ses lèvres et, Lächelns) (1929), Tauber devint le Prince d’entrée, Octavio n’a aucun pressentiment de Millöcker étaient tous morts et la vogue de même sur l’une des mélodies les plus parfaites Sou-Chong, ambassadeur de Chine à Vienne, la catastrophe qui l’attend. Il vit pour vivre, l’opérette, qui faisait alors entièrement partie de Lehár – “Words forbidden” (plage 17 ) –, il qui tombe amoureux de la jeune comtesse dit-il à ses amis, et son exubérance est telle de la vie sociale viennoise, sembla s’essouffler. parvient encore à se retenir. Lisa. En arrivant à un bal donné à l’intention qu’il va même d’emblée jusqu’au contre-la Toutefois, le 28 décembre 1905, un Dès le milieu des années 1920, le style de de Lisa par ses parents, il exprime son dans sa première apparition: “Comrades, this événement se produisit qui inversa cette Lehár avait subi un changement radical. Il appréhension; pourra-t-elle vraisemblablement life is the life for me!” (plage 11 ). tendance et inaugura l’âge d’argent de avait commencé à écrire tous ses principaux aimer quelqu’un d’aussi différent que lui ou L’exact contemporain de Lehár, Oscar Straus l’opérette viennoise. Cet événement fut la rôles de ténor pour le grand ténor lyrique devra-t-il se replier sur la solution chinoise (1870–1954), composa A Waltz Dream (Ein création de The Merry Widow (Die lustige Richard Tauber, et, même si la voix de Tauber traditionnelle qui consiste à sourire au Walzertraum) (1907) dans la ferme intention Witwe), de Franz Lehár (1870–1948), ouvrage était un instrument d’une beauté romantique chagrin? “Patiently smiling” (plage 6 ). À sa de rivaliser avec le nombre record des qui remporta un succès sans précédent sur le ensorcelante, son apparence physique ne plus grande joie, Lisa répond à son amour et représentations initiales de The Merry Widow; plan international, même si l’on se réfère à correspondait pas du tout à l’idéal du chanteur ils partent ensemble pour Pékin, où ils et cet ouvrage y parvint, tout au moins à

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Vienne. Il s’agit vraiment d’un hymne à la La carrière de compositeur et de chef l’opérette, en mêlant le raffinement viennois inventées avec ingéniosité, soprano et ténor mémoire de l’ancienne Vienne romantique qui d’orchestre de Robert Stolz (1880–1975) s’est au panache et à l’exubérance de sa Hongrie finissent par faire exactement ce que les sopranos sombrait alors irrémédiablement dans le passé; étendue sur au moins soixante-quinze ans et il natale. Dans Countess Maritza (Gräfin et les ténors sont supposés faire: chanter un duo en fait, un ou deux personnages de A Waltz occupe une place unique dans les annales de la Mariza) (1924), notre héros est le Comte d’amour extatique et danser une valse grisante. Dream pourraient presque sortir des pièces de musique légère viennoise. Bien qu’il ait écrit Tassilo Endrödy-Wittenburg, aristocrate “Heavens, what’s happ’ning to me?” (plage 13 ). théâtre et des nouvelles du grand chroniqueur bien plus de soixante opérettes et Singspiele, viennois ruiné par la débacle de la Première de la vie sociale viennoise Arthur Schnitzler. peut-être reste-t-il surtout connu comme le Guerre mondiale et qui, sous un nom © 2002 Nigel Douglas Avant le début de l’opérette, le Lieutenant compositeur de centaines de chansons isolées, d’emprunt, a pris un emploi de régisseur d’un Traduction: Marie-Stella Pâris Niki, qui aime s’amuser, a été attaché à la dont un grand nombre, notamment “Don’t vaste domaine hongrois dont la propriétaire, la personne d’Hélène, fille d’un notable de ask me why I’m leaving” (plage 9 ), vit le jour très riche Comtesse Maritza, est absente. Le ténor américain Bruce Ford est sans Flausenthurn, principauté de province grâce à l’industrie cinématographique Tassilo a fait liquider ses affaires à Vienne par conteste l’un des chanteurs les plus allemande, pendant que son père était en visite berlinoise – dans ce cas précis, dans un film un vieux camarade de régiment, auquel il remarquables de notre temps. On ne tarit pas officielle à Vienne. Elle tombe amoureuse de intitulé Das Lied ist aus. Stolz s’illustra confie que, même si, tout compte fait, sa d’éloges sur la beauté et l’étendue de sa voix, la Niki et, à l’Acte I, il vient de l’épouser, sans également, dans un autre genre, comme maître nouvelle vie est tolérable, il souffre façon dont il vit un texte, sa maîtrise avoir tout à fait réalisé à quel point du Wienerlied, qui n’est autre qu’une mélodie indéniablement du mal du pays: “Vienna stylistique et sa virtuosité technique ainsi que Flausenthurn est un endroit où l’on s’ennuie à viennoise, et “We met in Vienna, my true love mine” (plage 14 ). ses talents d’acteur. Il est invité régulièrement à périr. Il devrait avoir rejoint la chambre and I” (plage 16 ) en est un exemple très La vie devient nettement plus compliquée se produire dans les plus grands théâtres nuptiale pour remplir ses devoirs dynastiques, apprécié. Aussi simples qu’ils puissent paraître, lorsque Maritza lui fait la surprise de reparaître d’Amérique du Nord et d’Europe, où il se mais, comme il le confie à son témoin, il vient c’est l’art de dissimuler l’art qui permet aux en compagnie de nombreux riches parasites. spécialise dans les œuvres les plus difficiles de d’entendre un son qui entrait en flottant par la meilleurs Wienerlieder de produire de l’effet; Pendant qu’ils font la noce dans la maison, Mozart et du répertoire bel canto. Depuis plus fenêtre de son appartement en provenance du ils étaient en fait écrits pour être chantés dans Tassilo ne peut que déguster seul son verre de de dix ans, Bruce Ford joue un rôle majeur jardin public situé juste au-dessous, le son les Heuriger, les bars à vin dans des jardins vin, dehors sur la terrasse, et dans un dans la revalorisation de nombreux opéras bel d’un véritable orchestre viennois jouant une situés à la périphérie de Vienne, accompagnés, mouvement inhabituel d’apitoiement sur lui- canto, autant au disque qu’en concert. Bien des véritable valse viennoise. Et s’ils comme sur ce disque, par le classique Quatuor même, il demande au violoniste tzigane de théâtres ont repris exprès pour lui des opéras s’abandonnaient à son charme séduisant et Schrammel, qui se composait de deux violons, l’aider à apaiser son sentiment d’amertume. jusque-là négligés à tort, entre autres The descendaient ensemble respirer une dernière un accordéon et une guitare. “Play, gipsy” (plage 4 ). Néanmoins, tout n’est Royal Opera (l’Otello de Rossini) ainsi que les fois la liberté ? C’est ce qu’ils font, mais le En dehors de son talent inépuisable de pas perdu. Contrairement à Lehár, Kálmán festivals de Glyndebourne (Ermione) et Pesaro résultat est troublant… “Softly, so softly” mélodiste, Emmerich Kálmán (1882–1953) composait encore des opérettes au dénouement (Zelmira et l’Otello de Rossini). Il a également (plage 10 ). apporta une contribution toute particulière à heureux et, après de nombreuses vicissitudes chanté à La Scala, dans les théâtres lyriques de

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Naples, Florence et Bologne ainsi que dans le critique. Ses interprétations superbes de héros Philharmonique de Vienne, une formation Sur la scène lyrique, il a dirigé entre autres cadre du Mai Musical de Florence et du mozartiens, Mitridate (The Royal Opera) et qu’il dirigea par la suite. Der fliegende Holländer à La Scala, Ariadne auf Festival de Salzbourg. C’est en tant Oreste dans Ermione (à Glyndebourne) sont Il est invité régulièrement à diriger les plus Naxos et Der fliegende Holländer pour l’English qu’Almaviva dans Il barbiere di Siviglia – le disponibles sur vidéo/DVD. Malgré ses grands orchestres du monde et a travaillé avec National Opera, Der Freischütz au Teatro rôle qu’il a le plus souvent interprété dans sa quelque vingt ans de scène, son répertoire du le London Symphony Orchestra, le London Comunale de Bologne, Prince Igor pour le carrière à ce jour – qu’il a fait ses débuts au ténor ne cesse de s’élargir et il vient d’ajouter à Philharmonic Orchestra, le Philharmonia Staatskapelle de Berlin et Fidelio ainsi que Der Royal Opera, au Metropolitan Opera, au Los sa discographie le rôle-titre de La clemenza di Orchestra, le Staatskapelle de Dresde, Rosenkavalier pour Scottish Opera. Il s’est Angeles Opera ainsi qu’au Dallas Opera. Tito et celui d’Idomeneo de Mozart. l’Orchestre Symphonique de Berlin, le également produit en concert dans le cadre du En concert, il s’est produit dans des lieux Avec ce disque d’airs d’opérettes, Ford saisit Gewandhaus de Leipzig, la Philharmonie de Festival de Tivoli. Durant sa première saison à aussi prestigieux que La Scala, Carnegie Hall l’occasion de revivre ses débuts en Allemagne, Hambourg, l’Orchestre Philharmonique Bâle, il a dirigé une version extrêmement et le Concertgebouw d’Amsterdam ainsi que lorsqu’il chanta dans plusieurs des œuvres d’Israël, l’Orchestre de Paris, l’Orchestre réussie de Die Frau ohne Schatten. Parmi les dans le cadre du Festival d’Edimbourg. Il est évoquées. National de France, l’Orchestre du Théâtre de autres opéras qu’il donna en concert, notons très demandé comme récitaliste. Il a travaillé La Scala à Milan, l’Orchestre Royal du Fidelio avec le City of Birmingham Symphony avec de nombreux chefs d’orchestre dont Après avoir été directeur musical et chef Concertgebouw, l’Orchestre Philharmonique Orchestra, Elektra et Der fliegende Holländer Claudio Abbado, Riccardo Muti, Sir Charles principal du Royal Scottish National Orchestra de la Radio Néerlandaise, l’Orchestre de la avec le Royal Scottish National Orchestra ainsi Mackerras, Richard Bonynge, Sir Roger de janvier 1992 à juillet 1997, Walter Weller Tonhalle de Zürich, l’Orchestre de la Suisse qu’Eugene Onegin à Copenhague. Norrington, Sir Colin Davis et David Parry, est aujourd’hui chef honoraire de cet ensemble. Romande, l’Orchestre de la Radio Suédoise, Sa discographie comprend des cycles des pour n’en citer que quelques-uns. Il est également conseiller artistique et chef l’Orchestre Philharmonique de Stockholm, Symphonies de Prokofiev et de Rachmaninov, Bruce Ford a confié une grande partie de invité principal de l’Orchestre National ceux d’Oslo et d’Helsinki. En Amérique du le Concert pour orchestre de Bartok, les son répertoire au disque. On notera entre d’Espagne. Il fut directeur artistique de Nord, il a collaboré avec des ensembles tels le Danses valaques de Janácˇek, la Symphonie autres la version originale de Lucia di l’Allgemeine Musikgesellschaft de Bâle, New York Philharmonic Orchestra, les no 1 de Rachmaninov, la Symphonie no 4 de Lammermoor sous Sir Charles Mackerras, trois directeur musical de l’Opéra de Bâle et chef Orchestres Symphoniques du Minnesota, de Bruckner et, pour Chandos, les Symphonies et récitals d’airs d’opéra en soliste (“Héros principal de l’Orchestre symphonique de Bâle San Francisco, Houston, Pittsburgh, Detroit, les Concertos pour piano (avec John Lill) de romantiques” et “Rossini sérieux” pour Opera de septembre 1994 à juillet 1997, chef Cincinnati et Toronto ainsi qu’avec le National Beethoven ainsi que les Symphonies de Rara ainsi que “Grands airs d’opéra” pour principal du Royal Philharmonic Orchestra de Arts Centre Orchestra à Ottawa. Mendelssohn. Chandos en association avec la Peter Moores 1980 à 1985 ainsi que directeur musical et Foundation), et les enregistrements pour Opera artistique du Royal Liverpool Philharmonic de Rara d’opéras rares de Mayr, Donizetti, Pacini 1977 à 1980. A l’âge de vingt et un ans, il fut et Rossini, enregistrements fort prisés par la nommé premier violon de l’Orchestre

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(Eine Nacht in Venedig) (1883) risente di un presunta collaborazione con i turchi invasori. Grandi arie da operetta libretto lunghissimo a cui diverse mani Con il suo brano di ingresso “Since I was left successive hanno tentato di dare forma, ma an orphan lad” (traccia 7 ) Barinkay, Nel mondo dell’opera spesso si discute sulla trionfo con Orphée aux Enfers (1858), musicalmente contiene molti numeri deliziosi incorreggibile estroverso, intrattiene gli lingua delle rappresentazioni. Sono preferibili Offenbach ritornò alla parodia della mitologia di cui “Love is a delicate flower” (traccia 5 ) abitanti del posto con una narrazione allestimenti nella lingua originale o in quella greca con La Belle Hélène (The Beautiful è un esempio tipico. Caramello, lacchè e fantasiosa delle sue vicissitudini negli anni del pubblico? Entrambe le tesi hanno validi Helen) (1864), una divertente rielaborazione barbiere personale del donnaiolo duca successivi. In seguito scandalizza il difensori con argomentazioni ormai anche della storia della guerra di Troia. Nel suo d’Urbino, per errore ritiene che l’ultima Commissario reale della regione prendendo in troppo note, ma nel caso dell’operetta la motivo di ingresso, “On Mount Ida”, (traccia conquista del padrone sia la propria fidanzata. sposa una zingara. “Chi ha celebrato la situazione è diversa. Chi scrive ha avuto il 2 ) Paride, causa del conflitto, narra in Con amara ironia medita sull’incostanza del cerimonia?” chiede il temibile dignitario, “e piacere di interpretare numerose operette termini molto poco omerici, la storia delle tre bel sesso e addirittura arriva a prendere in chi sono stati i testimoni?” Nel duetto “Who viennesi in diversi paesi, qualche volta nella dee e la loro gara di bellezza. prestito dal Duca del Rigoletto la famosa frase made us one?” (traccia 3 ) Barinkay, con la lingua tedesca, qualche volta nella traduzione, Quando si diffusero a Vienna in versioni “La donna è mobile”. sposa Saffi, spiega che le nozze si sono svolte e ritiene che gli allestimenti teatrali possano pirata alla fine del decennio del 1850, le opéras The Gipsy Baron (Der Zigeunerbaron) secondo la tradizione zingara, celebrate dagli essere efficaci solo nella lingua del pubblico. bouffes di Jacques Offenbach ebbero tanto (1885) segnò il più grande successo di Strauss uccelli dell’aria e accompagnate dal canto di Per cominciare, nell’operetta classica la vicenda successo che diversi compositori viennesi si dopo Die Fledermaus. Il compositore sperava un usignolo. normalmente comprende ampie scene di resero conto delle possibili fonti di reddito che segretamente che con la sua brillante partitura, Suppé, Strauss e un terzo compositore, Karl dialogo parlato; poi, è indispensabile che i offriva il nuovo genere e decisero di seguire le i doppi cori e i finali meravigliosamente Millöcker (1842–1899) furono i principali principali cantanti stabiliscano un contatto sue orme. In prima linea fu Franz von Suppé costruiti per gli atti I e II, al di là della rappresentanti della cosiddetta Età aurea personale molto diretto con il pubblico e (1819–1895) – Die schöne Galathée viene generale glorificazione dell’impero austro- dell’operetta viennese, ma molti brani di questo è difficile da ottenere se il pubblico non generalmente considerata la prima operetta ungarico, l’opera gli aprisse le porte dei teatri successo furono firmati da altri nomi, come capisce né quello che si dice né quello che si viennese di vero successo – tallonato dal lirici europei. Rimase deluso, anche se per The Birdseller (Der Vogelhändler) (1891) di canta. talento ancora più pirotecnico di Johann renderle giustizia l’opera richiede senza dubbio Carl Zeller (1842–1898), un dilettante dalle Il recital di Bruce Ford di questo disco Strauss II (1825–1899). un’esecuzione lirica di alto livello. Il doti straordinarie che, per vivere, lavorava consiste quasi esclusivamente in operette Per quanto non riuscisse mai a superare il protagonista, Sandor Barinkay, fa ritorno nella presso il ministero dell’Arte e dell’Istruzione. viennesi, fatta eccezione per un brano del vero successo di Die Fledermaus (1874), Strauss natia Ungheria dopo anni di vagabondaggi, Questa volta il nostro eroe è Adam, un progenitore dell’operetta viennese, un parigino compose molte altre operette che si sono per rivendicare la proprietà che il padre era semplice venditore di uccelli tirolese che, dopo di origine tedesca, e cioè Jacques Offenbach conquistate un posto di diritto nel repertorio, stato costretto ad abbandonare anni prima, una serie di malintesi, finisce per essere (1819–1880). Dopo il suo straordinario per lo meno in Europa. A Night in Venice dopo essere stato messo al bando per la sua coinvolto in una relazione amorosa con una

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principessa della Renania. Il suo assolo più Benedict, litiga continuamente fino al lieto della contessina Lisa. Arrivando a un ballo Oscar Straus (1870–1954), contemporaneo famoso, “My old father years ago” (traccia 8 ), fine. In un attacco di dispetto, Danilo ha organizzato dai genitori di lei, esprime la di Lehár, compose A Waltz Dream (Ein in realtà non ha nulla a che vedere con giurato di non pronunciare mai le parole propria trepidazione; può la donna amare una Walzertraum) (1907) con l’intenzione di fare l’argomento, ma è un brano in stile “Ti amo” e persino su una delle più perfette persona diversa come lui, o dovrà ripiegare concorrenza al record delle rappresentazioni folcloristico eseguito per intrattenere gli ospiti melodie di Lehár – “Words forbidden” sulla soluzione cinese tradizionale iniziali della Mreey Widow e, almeno a Vienna, a una festa. (traccia 17 ) – riesce a padroneggiarsi. di sorridere al dolore? “Patiently smiling” ci riuscì. L’opera è in realtà un inno al ricordo Alla fine dell’Ottocento Suppé, Strauss e A metà degli anni Venti, Lehár aveva (traccia 6 ). Con sua grande felicità, Lisa della vecchia Vienna romantica che allora già Millöcker erano scomparsi e la passione per radicalmente modificato il suo stile. Aveva ricambia il suo amore e lo segue a Pechino per cominciava a scivolare inesorabilmente nel l’operetta, che era diventata tanta parte della iniziato a comporre tutti i suoi ruoli di diventare sua moglie. Tutto sembra andare per passato. Alcuni personaggi potrebbero vita sociale di Vienna, sembrava affievolirsi. Il protagonista per il grande tenore lirico il meglio – “Love! What has given you this addirittura essere usciti dai drammi o dalle 28 dicembre 1905, tuttavia, si verificò un Richard Tauber, che aveva una voce di grande magic pow’r?” (traccia 15 ) – ma con il tempo novelle di un grande cronista della vita sociale evento che segnò un’inversione di tendenza, fascino romantico, ma un aspetto poco adatto emergono le differenze tra Oriente e viennese: Arthur Schnitzler. Prima dell’inizio inaugurando la cosiddetta Età argentea al ruolo di tradizionale idolo delle platee. Occidente. Per fortuna, questo non impedisce dell’operetta, l’allegro luogotenente Niki è dell’operetta viennese. Si trattava della prima Al posto del normale lieto fine, si sviluppò una a Sou di cantare il più famoso dei cosiddetti stato nominato attendente di Helene, figlia del de The Merry Widow, (Die lustige Witwe), di tradizione per conclusioni in cui Tauber Tauberlieder “You are my heart’s delight” governatore del Flausenthurn, principato Franz Lehár (1870–1948), che riscosse un eroicamente rinunciava all’amore per il dovere. (traccia 1 ). provinciale della Germania, mentre il padre di sensazionale successo internazionale, senza In The Czarevitch (Der Zarewitsch) (1927) Con la sua ultima opera teatrale, Giuditta lei è in visita ufficiale a Vienna. La ragazza si è precedenti persino rispetto a Die Fledermaus. Tauber era l’erede al trono di Russia, un (1934), Lehár ebbe successo dove Strauss aveva innamorata di Niki e nel primo atto l’uomo è Come le opere liriche del verismo italiano, giovane incostante inizialmente più interessato fallito: la sua prima mondiale fu allestita appena diventato suo marito, senza essersi reso incentrate sulle vicende della gente comune e alle questioni militari che alle avventure all’Opera di Vienna. Quasi una Spieloper più conto completamente di quanto si sarebbe non più sui monarchi e gli alti sacerdoti, amorose. Nel suo assolo iniziale “Alone, che un’operetta, narra una storia alla Carmen; rivelato noioso il Flausenthurn. Dovrebbe The Merry Widow introdusse nell’operetta always alone” (traccia 12 ) si paragona a una un giovane soldato portato alla rovina da una essere nella camera nuziale a preoccuparsi dei personaggi in carne e ossa, abbandonando sentinella di guardia sulle rive del Volga, uno femme fatale. Nel suo brano di esordio, però, propri doveri dinastici ma, come dice al la convenzione teatrale che aveva consentito, stato d’animo che sarà notevolmente Ottavio non ha alcun presentimento della proprio testimone di nozze, ha appena sentito per esempio, ad Eisenstein in Die Fledermaus modificato dopo il suo incontro con la bella catastrofe che lo attende. La vita va vissuta, arrivare dalla finestra del suo appartamento dal di non riconoscere la propria consorte a Sonja. dice ai suoi amici, e la sua esuberanza è tale parco pubblico il suono di una vera banda Un ballo in maschera. I protagonisti della Nel Land of Smiles (Das Land des Lächelns) che arriva ad aprire il suo ruolo su un la viennese che esegue un vero valzer viennese. Merry Widow sono Anna e Danilo, una coppia (1929) Tauber fu il principe Sou-Chong, naturale alto: “Comrades, this life is the life Perché non cedere al suo fascino sognante e romantica che, un po’ come Beatrice e ambasciatore cinese a Vienna, innamorato for me!” (traccia 11 ). scendere insieme per un ultimo respiro di

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libertà? Così è, ma i risultati sono allarmanti… cui abbinò la sofisticatezza viennese con la fanno: cantano un estatico duetto d’amore e Siviglia – quello da lui più spesso interpretato “Softly, so softly” (traccia 10 ). vivacità ed esuberanza della sua nativa danzano un valzer inebriante, “Heavens, what’s in seguito – alla Royal Opera, Metropolitan Come compositore e direttore d’orchestra, Ungheria. Nella Countess Maritza (Gräfin happ’ning to me?” (traccia 13 ). Opera e nei teatri lirici di Los Angeles e con una carriera di ben 75 anni, Robert Stolz Mariza) (1924) il nostro eroe è il conte Tassilo Dallas. (1880–1975) occupa una posizione esclusiva Endrödy-Wittenburg, un aristocratico © 2002 Nigel Douglas L’attività concertistica di Bruce Ford lo ha negli annali delle musica leggera viennese. viennese impoverito dal tracollo della prima Traduzione: Emanuela Guastella visto comparire alla Scala, al festival di Nonostante avesse composto più di sessanta Guerra mondiale e impiegato sotto falso nome Edimburgo, al Carnegie Hall e al operette e Singspiel rimane più noto forse come direttore della vasta proprietà ungherese Il tenore americano Bruce Ford è considerato Concertgebouw di Amsterdam, e i suoi recital come compositore di letteralmente centinaia di di un proprietario abitualmente assente, la uno dei più importanti cantanti di oggi ed è sono molto richiesti. Ha lavorato, tra l’altro, canzoni, molte delle quali, come “Don’t ask contessa Maritza, favolosamente ricca. Gli particolarmente apprezzato per la sua voce con Claudio Abbado, Riccardo Muti, sir me why I’m leaving” (traccia 9 ), videro la affari di Tassilo sono stati conclusi a Vienna da straordinaria, la sua vivacità, il suo stile sicuro Charles Mackerras, Richard Bonynge, sir luce per la prima volta attraverso l’industria un vecchio amico dell’esercito, a cui Tassilo e la sua perizia tecnica, oltre che per la sua Roger Norrington, sir Colin Davis e David cinematografica di Berlino – in questo caso, in confida che, per quanto si sia creato una vita recitazione espressiva. È regolarmente ospite Parry. un film intitolato Das Lied is aus. Un altro tollerabile, soffre di nostalgia. “Vienna mine” dei più importanti teatri del Nordamerica e Bruce Ford ha registrato gran parte del suo genere di cui Stolz fu maestro era il cosiddetto (traccia 14 ). dell’Europa ed è specializzato nelle opere più repertorio e la sua discografia include la Wienerlied, semplicemente “canto Viennese” e La vita si complica nettamente con difficili del repertorio mozartiano e del versione originale della Lucia di Lammermoor “We met in Vienna, my true love and I” l’apparizione improvvisa della contessa belcanto. Da oltre dieci anni svolge un ruolo diretta da sir Charles Mackerras, tre recital (traccia 16 ) è un esempio molto amato. Per Maritza, accompagnata da ricchi spasimanti. significativo nella rivalutazione di molte opere operistici da solista (Romantic Heroes e quanto possano apparire semplici, i migliori Mentre fanno baldoria in casa, Tassilo è del belcanto, attraverso registrazioni e Serious Rossini per Opera Rara e Great Wienerlieder dipendono per la loro efficacia costretto a bere da solo un bicchiere di vino rappresentazioni dal vivo. Molti teatri hanno Operatic Arias per Chandos/Peter Moores dall’arte che nasconde l’arte e furono composti sulla terrazza e in uno slancio poco consueto riproposto proprio per lui delle opere meno Foundation). Inoltre ha partecipato a diverse sostanzialmente per essere cantati negli di autocommiserazione chiede al violinista note, per esempio la Royal Opera (Otello registrazioni di opere dimenticate di Mayr, Heuriger, locali di degustazione del vino alla zingaro di aiutarlo ad alleviare la sua amarezza. di Rossini) e i festival di Glyndebourne Donizetti, Pacini e Rossini per Opera rara, periferia di Vienna, accompagnati, come “Play, gipsy” (traccia 4 ). Ma non tutto è (Ermione) e Pesaro (Zelmira, Otello di molto apprezzate dalla critica. Le splendide questa registrazione, dal classico quartetto perduto. A differenza di Lehár, Kálmán Rossini). È comparso alla Scala e nei teatri interpretazioni del Mitridate di Mozart (Royal Schrammel, due violini, fisarmonica e chitarra. componeva ancora operette a lieto fine e, dopo lirici di Napoli, Firenze e Bologna ed è Opera) e Oreste in Ermione (Glyndebourne) Il contributo speciale di Emmerich Kálmán numerose vicissitudini ingegnosamente intervenuto al Maggio Musicale Fiorentino e al sono disponibili su video/DVD. Dopo quasi (1882–1953) all’operetta, a parte la sua costruite, soprano e tenore finiscono per fare festival di Salisburgo. Il suo esordio è legato al vent’anni di carriera teatrale, il suo repertorio inesauribile forza di melodista, fu il grado con esattamente quello che i soprani e i tenori ruolo del conte di Almaviva nel Barbiere di continua ad ampliarsi; le ultime aggiunte sono

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i ruoli di protagonista di due opere tutto il mondo e ha lavorato con la London ohne Schatten. Altre opere in concerto Prokof’ev e Rachmaninov, il Concerto per mozartiane, La clemenza di Tito e Idomeneo. Symphony Orchestra, la London Philharmonic, comprendono Fidelio con la City of Orchestra di Bartók, le Danze di Lachi di Questa registrazione di arie da operetta ha la Philharmonia Orchestra, la Staatskapelle di Birmingham Symphony Orchestra, Elektra e Janácˇek, la Sinfonia n. 1 di Rachmaninov, a rappresentato per Bruce Ford un modo per Dresda, la RSO di Berlino, l’orchestra del Der fliegende Holländer con la Royal Scottish Sinfonia n. 4 di Bruckner e, per Chandos, le ricordare gli inizi della sua carriera in Gewandhaus di Lipsia, la Philharmonie di National Orchestra ed Eugenio Onieghin a Sinfonie e i concerti per pianoforte di Germania, dove è stato interprete di molte Amburgo, la Israel Philharmonic Orchestra, Copenaghen. Beethoven (con John Lill) e le sinfonie di delle opere registrate. l’Orchestre de Paris, l’Orchestre National de La discografia comprende le sinfonie di Mendelssohn. France, l’Orchestra del Teatro alla Scala di Walter Weller è stato Direttore musicale e Milano, l’Orchestra del Concertgebouw, Direttore stabile della Royal Scottish National l’Orchestra filarmonica della radio olandese, la Session photo Orchestra tra il gennaio del 1992 e il luglio Tonhalle-Orchester di Zurigo, l’Orchestre de la del 1997 e oggi è il suo Direttore Emerito. Suisse Romande, l’orchestra della radio svedese, Inoltre è Consulente artistico e Direttore la Filarmonica di Stoccolma e le Filarmoniche ospite dell’Orchestra nazionale di Spagna. di Oslo e di Helsinki. Nell’America del nord ha È stato Direttore artistico della Allgemeine lavorato con la New York Philharmonic, le Musikgesellschaft di Basilea, Direttore orchestre sinfoniche del Minnesota, di San musicale del Teatro di Basilea e Direttore Francisco, Houston, Pittsburgh, Detroit, principale dell’Orchestra sinfonica di Basilea Cincinnati e Toronto e l’Orchestra del National dal settembre 1994 fino al luglio 1997, Arts Centre di Ottawa. Direttore stabile della Royal Philharmonic In teatro Walter Weller ha diretto tra l’altro Orchestra dal 1980 al 1985 e Direttore Der fliegende Holländer alla Scala, Ariadne auf Musicale e artistico della Royal Liverpool Naxos e Der fliegende Holländer per la English Philharmonic dal 1977 al 1980. All’età National Opera, Der Freischütz al Teatro di ventuno anni è stato nominato primo Comunale di Bologna, Il principe Igor per la violino dell’Orchestra filarmonica di Staatskapelle di Berlino, Fidelio e Der Vienna, di cui in seguito sarebbe diventato Rosenkavalier per la Scottish Opera. Ha diretto direttore. concerti al festival di Tivoli. Nella sua Walter Weller viene regolarmente invitato prima stagione a Basilea, ha diretto un come direttore ospite da importanti orchestre di allestimento di grande successo della Frau

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Bruce Ford as the Student Prince AKG London

Image from the title page of the 1929 voice and piano score of The Land of Smiles CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 48

from The Land of Smiles from La Belle Hélène Said the second ‘I am Juno; Saffi You are my heart’s delight On Mount Ida I’ve my peacock and my pride; On green boughs around us Sou-Chong Paris if you really truly do know, there perched our forest choir! 1 2 it’s on me that you’ll decide!’ You are my heart’s delight, On Mount Ida three great ladies Barinkay and where you are I long to be! came to blows beneath a tree. Evohé! A goddess really can be hardly justified, When all was done the setting sun You make my darkness bright Their dispute was ‘Who in Hades went down as red as fire! when like a star you shine on me! is best looking of us three?’ meaning more than is implied! Shine, then, my whole night through, Evohé! Goddesses merely want But the third, ah, the third one never Saffi your light divine bids me hope anew to show that they’re divine; never spoke a single word. Then sweet sang the nightingale that dreams of mine may perchance come true Evohé! Goddesses really take Yet she won the prize however. her tuneful roundelay… and I shall hear you whisper ‘I love you!’ a most eccentric line, Yes, you should have seen the third! that love song, the same song In dreams, when night is falling, yes, a most eccentric line! Evohé! Goddesses nearly led that stole my heart away! I seem to hear you calling! By this tree a bright young fellow astray a shepherd lad. Evohé! Goddesses really are Saffi and Barinkay For you have cast a net around me, passed a little way below, Then sweet sang the nightingale and ’neath a magic spell have bound me. with an apple russet yellow a tiny bit too bad, yes, they really are too bad! her tuneful roundelay… Yours, yours alone! as the best old masters show. Ah! that love song, the same song How wondrous fair Handsome boy! We pray you tarry, translation by Nigel Douglas © 1983 Josef Weinberger Ltd that stole my heart away! is your beautiful hair! handsome boy, come up and see! Bright as the summer skies Give the apple that you carry from The Gipsy Baron Chorus is the light in your eyes. to the loveliest of us three! Who made us one? That love song, the same song, Soft as the turtle dove’s Evohé! Goddesses clearly would that stole my heart away! Barinkay is the voice of my love. seduce a shepherd lad. 3 Who made us one?, you say. Barinkay You are my heart’s delight, Evohé! Goddesses really are Saffi Who saw and heard us say… and where you are I long to be! a tiny bit too bad, No, you! You make my darkness bright yes, they really are too bad! Saffi when like a star you shine on me! Said the first, the chaste preserver Barinkay ‘I do.’ Shine, then, my whole night through, The blackbird that warbles up there. of the modest and the wise: Barinkay your light divine bids me hope anew Chorus ‘Give the apple to Minerva. Two swallows who came from the wood. that dreams of mine may perchance come true I alone deserve the prize!’ The blackbird, he married the pair. and I shall hear you murmur ‘I love you!’ Evohé! A Goddess dearly loves Barinkay Chorus translation by Harry Graham to tease and tantalise! Beneath a dome of crystal blue. Two swallows as witnesses stood. © 1959 Glocken Verlag Ltd 48 49 CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 50

Barinkay seductive violins to serenade me there is no king on earth whose wealth I’d wish You can threaten, you can flatter, They wished us luck and off they flew. and the pow’r of gold to aid me, to share. all your efforts do not matter. Saffi like their lordships here. So play for me until your bow starts dancing, She will leave you if she wants to, And now we are hoping Today your eyes flash proudly fill the air with dreams entrancing for to change her mind is her prerogative. to see them both again. while you drain your wine, dreams beyond compare! The wine you taste tomorrow Please don’t think that I am bitter, Play, gipsy, whisper some haunting refrain, Barinkay may not taste so fine. full of childish misconceptions. play ’til my aching heart is healed. They promised they would come one day The tune the violin strikes up tomorrow Just remember it is true O come and play gipsy, before they leave for Spain. could become a song of sorrow that very rule has its exceptions. teach me to smile once again, Saffi deeper still than mine! If you’re lucky and you find At dusk sang the nightingale play ’til the stubborn senses yield. the one that really can be faithful, her tuneful roundelay… Play, gipsy, whisper some haunting refrain, A monarch’s ransom I would pay you are then a happy man. Ah! that love song, the same song play ’til my aching heart is healed. just to hear you play; Just find her if you can! that stole my heart away! O come and play gipsy, laugh with me, and cry with me teach me to smile once again, until the break of day. Then your days will fill with pleasure, Saffi and Barinkay play ’til the stubborn senses yield. Come! Come! Come! nights with rapture without measure. Then sweet sang the nightingale A monarch’s ransom I would pay Play, gipsy, play me that haunting refrain, Life will be a bed of roses, her tuneful roundelay… just to hear you play; play ’til my heart forgets its pain! you have found a hidden treasure. that love song, the same song laugh with me, and cry with me translation by Nigel Douglas Marry her then if you have to, that stole my heart away! until the break of day. © 1988 Octava Music Australia Pty Ltd if she will not stay your mistress, Chorus Come! Come! Come! for, my friend you’ve found That love song, the same song, Play, gipsy, play me that haunting refrain, from A Night in Venice the key to happiness. that stole my heart away! play ’til my heart forgets its pain! Love is a delicate flower translation by Geoffrey Dunn Love is a delicate flower, I too was once a proud and elegant Hussar, Caramello © 1964 Josef Weinberger Ltd cherish each wonderful hour. the nights were made for dancing, 5 Love is a delicate flower, You hope it never will end, from Countess Maritza as your lordships’ are. hold on to every sweet hour. then let me advise you, my friend: Play, gipsy My heart untouched by other people’s troubles, You think it never will end, never expect it to last, viewing life through champagne bubbles then let me advise you, my friend: one day it all will be past. Tassilo as your lordships are. never expect it to last, Think what the man in the opera sings: 4 I too was once a wealthy czardas cavalier, (to the gipsy violinist) one day it all will be past. ‘La donna è mobile!’ with gipsies to amuse me, When your enchanted tones caress the midnight You can do nothing, my friend, ENO translation by Murray Dickie like their lordships here; air, when it comes to the end. © 1976 Josef Weinberger Ltd

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from The Land of Smiles Patiently smiling, whate’er may befall! Barinkay But their story went awry Patiently smiling Fortune may frown, but I keep smiling! I travelled widely after that so they kissed and said ‘goodbye’. Sou-Chong I may be sad at heart, but nobody knows! as mountebank and acrobat, Then a nightingale above translation by Harry Graham 6 I enter this room with a thrill in my heart, and always got a good result sang a melody of love. © 1959 Glocken Verlag Ltd knowing my loved one is near; when I attempted the occult. Years went by but still it lingered haunting night and day. for though, alas, we are worlds apart, from The Gipsy Baron My incantations called up hosts Once again, once again, once again, I am quite close to her here! Since I was left an orphan lad of very well connected ghosts. Fire-eating was my next employment. sing, oh sing, nightingale. O heart, beat less madly! Lie still in my breast! Barinkay For happiness vainly you yearn! I swallowed swords with much enjoyment; For the sound of your song lingers on 7 Since I was left an orphan lad I frolicked on the high trapeze, when the joy and the laughter are gone. The sadness within must ne’er be confessed: long trips around the world I’ve had; ’tis a secret that none may learn! I juggled with the greatest ease, For your song thro’ the nights and the days the first when I was young and poor, I somersaulted fifty yards, will be here in my heart always. His sorrows a Chinaman ne’er reveals, with a menagerie on tour. I was superb in tricks with cards My old father loved, I’m told, and nobody knows how deeply he feels! From killer whale to chimpanzee, which I performed with fine perception many maids when he was old. Patiently smiling, whate’er may befall! the livestock fairly took to me. and absolutely no deception. He would watch them passing by I’ll go on smiling, in spite of it all! The rhino stroked my cheek politely. with a twinkle in his eyes. Fortune may frown, but I keep smiling! The rattlesnake would rattle brightly. Ah! Why be timid and shy? But his heart was true, I know, I may be sad at heart, but nobody knows! The lion rolled me in the sand, How can you prophesy to his love of long ago. the tiger shook me by the hand, that you’re aiming too high To her I’m a stranger, and ever must be When the nightingale was singing, I hugged the bears if they were Polars, till you try, till you try? foreign in thought and in speech; you could hear him sigh: I brushed the alligator’s molars; Chorus and Barinkay for her there’s no danger in flirting with me Once again, once again, once again, and the elephant said a ballad Why be timid and shy she is so far from my reach! sing, oh sing, nightingale. while he was mixing me a salad. How can you prophesy I dream ev’ry night of her beauty and grace; For the sound of your song lingers on I waken to learn, once again, Ah! Why be timid and shy? that you’re aiming too high till you try, till you try? when the joy and the laughter have gone. my love in her heart can ne’er find a place How can you prophesy For your song thro’ the nights and the days I have dreamt of her all in vain! translation by Geoffrey Dunn that you’re aiming too high © 1964 Josef Weinberger Ltd will be here in my heart always. And so, without hope, for my loved one I pine, till you try, till you try? translation by Harry S. Pepper for though I am hers, she cannot be mine! Chorus and Barinkay from The Birdseller © 1946 Josef Weinberger Ltd Yet I keep smiling, in spite of it all! Why be timid and shy? My old father years ago from The Song is Done Patiently smiling, whate’er may befall! How can you prophesy Adam 8 Don’t ask me why I’m leaving And if my heart is filled with sorrow, that you’re aiming too high My old father years ago that is the secret I hide ’neath a smile! till you try, till you try? had a maid who loved him so. 9 Don’t ask me why I’m leaving… Don’t ask me why! 52 53 CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 54

Don’t ask me why I’m grieving… Don’t ask me from A Waltz Dream Niki from Giuditta why. ‘Softly, so softly’ Come, let’s bid farewell to discretion, Comrades, this life is the life for me! Those final words I’ll whisper: ‘I love you still. abandon our cares for tonight. Niki Octavio I’ll love you forever, forget you never!’ Surrender our pomp and our glory, 11 10 I wandered outside in the garden, Comrades, this life is the life for me! Once you and I have parted, don’t ask me why. succumb to the music’s delight! refreshed by the cool evening breeze, Ev’ry single day is a pleasure. If I am broken-hearted, don’t ask me why. Out there, where the wine flows like water, and savoured with easy contentment Ev’ry day brings moments to treasure. A new love will possess you, we’ll drink to a new golden age. the scent of the blossoming trees. Ev’ry hour has the power to excite, another’s hand caress you, Where melody leads we shall follow, When suddenly floating around me to fill with delight, then, dearest love, our longing for home we’ll assuage. a magical sound caught my ear; as the sun sets, blazing with fire, you won’t ask me why. I know the morning will bring it again a melody straight from Vienna, Niki and Montschi to climb yet higher in the sky! The song now fades, the song of our devotion, its message so sweet, so clear. We’ll dance as we danced in Vienna, its dying strain, a melody of pain. A waltz serene and beguiling, Vienna, dear city of song. Comrades, this life is the life for me! The song now fades, that song of deep devotion, seductive all others above. How could we ever forget her? As the night falls over the city and what was once a hymn of love becomes a It spoke of tears and laughter, ’Tis there our hearts still belong! there are moments not to be missed. distant echo! Vienna’s own message of love! Softly, so softly, speak once again, There are girls seductive and pretty to be kissed. My roses which you held so dear, Softly, so softly, speak once again, waltz dream’s enchantment, love’s own refrain. O signora, O signorina! their scent means nothing more to you… waltz dream’s enchantment, love’s own refrain. Sweetest of suff’ring, tend’rest of joy, Let me serenade you tonight. Our song is through… Sweetest of suff’ring, tend’rest of joy, dearly cherished mem’ries none can destroy! From your window there above me dearly cherished mem’ries none can destroy. throw a rose to show you love me. Don’t ask me why I’m leaving… Don’t ask me Springtime’s caresses, two hearts as one, O signora, Signorina, why! Niki and Montschi starlight and moonbeams once day is done. I adore you, my bambina. Don’t ask me why I’m grieving… Don’t ask me Springtime’s caresses, two hearts as one, Montschi I could storm the highest heaven why. starlight and moonbeams once day is done. just to be with you tonight. Those final words I’ll whisper: ‘I love you still. When love is beck’ning why turn away? I’ll love you forever, forget you never!’ Montschi Chorus Niki Once you and I have parted, don’t ask me why. When love is beck’ning why turn away? O signora, O signorina! One last adventure calls us today! Let me serenade you tonight. If I am broken-hearted, don’t ask me why. Niki O signora, Signorina, A new love will possess you, One last adventure calls us today! Niki and Montschi another’s hand caress you, When love is beck’ning why turn away? I adore you, my bambina. then, dearest love, Niki and Montschi One last adventure calls us today. Chorus and Octavio you won’t ask me why. When love is beck’ning why turn away? translation by Nigel Douglas Comrades, this life is the life for me! translation by Nigel Douglas One last adventure calls us today. © 2001 Josef Weinberger Ltd translation by Adam Carstairs © 1981 Glocken Verlag Ltd 54 55 CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 56

from The Czarevitch from Countess Maritza Tassilo Smile on the wine and the waltz and the Danube Alone, always alone ‘Heavens, what’s happ’ning to me?’ I know of a treatment sublime – as you pass by. spinning in three quarter time! Smile on the winding old streets where young Tassilo Czarevitch You’ll be alright if you hang on to me lovers kiss 12 13 Heavens, what’s happ’ning to me? Alone, always alone. counting ‘One, two, three!’ in shadows soft and still. Lonely, as ever, What can this sensation be? Tassilo and Maritza Tell them that one lonely heart still remembers the prime of life is slipping past, What makes my heart beat like this, Let’s forget the world around us, them the die of loneliness is cast, upsetting my feet like this? waltz our worries away. and always always will!’ my whole life here is grey and drear, Heavens if I could say why I’m feeling this way! How can worldly cares confound us with nobody to share my heart. Please give my love to that lovely old city, Maritza once the band starts to play? Vienna mine! A soldier stands guard on the Volga-side. Some sort of electricity Clinging tightly to each other Where all the girls are so dazzlingly pretty, He keeps his watch on the river wide. seems to be running through me! how can lovers be false? Vienna mine! The night is dark and full of fear. Heavens, Oh heavens, if only I knew So let’s just thank the Lord in heaven Please give my love to the waltz and the Danube No friendly stars or moonlight here. what a girl should do! for sending us the waltz! when you come home. translation by Nigel Douglas Silent is the land around, Tassilo and Maritza Greet all those winding old streets where young © 1988 Octava Music Australia Pty not a shred of comfort has he found. Let’s forget the world around us, lovers kiss And his heart cries out in his loneliness; waltz our worries away. from Countess Maritza in shadows soft and still. as he scans the misty sky, How can worldly cares confound us Vienna mine Tell them that one lonely heart still remembers them hear him softly sigh; once the band starts to play? Tassilo and always always will! Whirling round in seventh heaven 14 When the sun goes down in the western sky, translation by Nigel Douglas Have you forgotten me, Lord, up above? how can lovers be false? and the evening air fills with mystery, © 1988 Octava Music Australia Pty I stand here, forsaken by all I love. So if your heart’s afraid of loving Hear me, oh, hear me, and answer my plea. then my thoughts drift back as I sip my wine then don’t strike up the waltz! to the easy old life that was mine. from The Land of Smiles Send an angel to comfort me. Love, what has given you this magic power? Hear me, oh, hear me, and answer my plea. Maritza When I see the moon floating overhead Send an angel to comfort me. Why can’t I be quiet and demure? smiling down on me, I have often said Sou-Chong 15 translation by Adam Carstairs Does this disease have a cure? ‘Dear old moon, would you pause in your flight? Love never dies. © 1982 Glocken Verlag Ltd What causes my pulse to thud? I’ve a favour to ask you tonight. And there’s love in your eyes! What causes this racing blood? Please give my love to that lovely old city, Lotus Blossom! This constitutes a hazard I’m perfectly sure! Vienna mine! Love! What has given you this magic pow’r? Where all the girls are so dazzlingly pretty, As the sun above Vienna mine! wakens ev’ry budding passion-flow’r.

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In a moment’s bliss Sou-Chong And if beneath her chestnut trees you’ve dreamt from The Merry Widow you can stir desire, Ah! For well you know I love but you! the hours away Words forbidden with a single kiss the dream lives on for many a day. Lisa and Sou-Chong Danilo set two hearts on fire! I still recall a small secluded courtyard there, Love! What has given you this magic pow’r? 17 Words forbidden, hope long hidden, where I discovered happiness beyond compare. Lisa As the sun above ‘Love, be mine!’ Ah! We have found an earthly paradise wakens ev’ry budding passion-flow’r. We met in Vienna, my true love and I, Strings are playing, softly saying in this land afar! In a moment’s bliss when we and the world were young. ‘Love be mine!’ All the world for love we sacrifice! you can stir desire, Her cheeks were like roses, as none could deny, Ev’ry glance revealing with a single kiss her voice like a song sweetly sung. thoughts I may not speak. Sou-Chong set two hearts on fire! Of course it was springtime as Cupid had planned, ‘Turn to me for I could be For the moon indeed, Ah! We have found an earthly paradise Vienna and springtime, they go hand in hand. the love you seek!’ we no longer sigh! in this land afar! We kissed in Vienna, my true love and I, Hanna Lisa and Sou-Chong All the world for love we sacrifice! Vienna, dear city of dreams. Each time I dance with you We have all we need, For the moon indeed, my heart is dancing too, you and I! we no longer sigh! In Grinzing and in Sievering, where lakes and We have all we need, vineyards meet, when you are by my side, Lisa you and I! we sipped our wine and life was sweet. this heart of mine won’t be denied. Best beloved! All the world to me! When I look into your eyes Sou-Chong To gently sighing violins I won my true love’s heart, My beloved you shall ever be! we swore that we would never part. how could I fail to realise Till the earth no more endures, Tell me that, where’er you go, that this is love at last, you’ll be true, your whole life through! And now in dreams I visit still the courtyard there, and the sun has ceased to shine, although my own true love now lives I know not at long long last? I am now forever yours, Lisa where. Hanna and Danilo and I know that you are mine! There’s no need to tell you so, All the world around us, for you know I love but you! We met in Vienna, my true love and I, Sou-Chong all the stars above when we and the world were young. Best beloved! All the world to me! Sou-Chong whisper too ‘It’s true, it’s true, Her cheeks were like roses, as none could deny, My beloved you shall ever be! I love but you! you’ve found your love!’ her voice like a song sweetly sung. Tell me that, where’er you go, translation by Harry Graham translation by Nigel Douglas Of course it was springtime as Cupid had planned, you’ll be true, your whole life through! © 1959 Glocken Verlag Ltd © 1985 Glocken Verlag Ltd Vienna and springtime, they go hand in hand. Lisa We met in Vienna, my true love and I And now that we’ve parted, my true love and I, There’s no need to tell you so, 16 Vienna is a city where the girls are sweet and kind, Vienna, still lives in my dreams! for you know I love but you! as many a lucky man may find. translation by Nigel Douglas

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Bruce Ford as Tassilo in Kálmán’s Countess Maritza Photo: collection Private

Illustration by Talbot Hughes of Marsovian guests, from the souvenir programme of the first British production of Lehár’s The Merry Widow, 1907 Mary Evans Picture Library CHAN 3088 BOOK.qxd 21/5/07 5:22 pm Page 62

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Steinway Concert Grand provided and maintained by Steinway & Sons, London

Artistic Consultant to the Peter Moores Foundation: Patric Schmid Staging consultant and repetiteur: Charles Kilpatrick Language and vocal consultant: Ludmilla Andrew Repertoire consultant: Nigel Douglas

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineers Christopher Brooke and Michael Common CHAN 3081(2) Editor Jonathan Cooper Operas administrator Sue Shortridge CHAN 3074(2) Recording venue Blackheath Halls, London; 3–10 February 2002 Front cover Photograph of Bruce Ford by Bill Cooper Back cover Photograph of Walter Weller by Bill Cooper Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Glocken Verlag (tracks 1, 6, 11, 12, 15 & 17), Josef Weinberger Ltd (tracks 2, 3, 5, 7, 8 & 10), Octava Music Australia Pty (tracks 4, 13 & 14), Campbell Connolly (track 9), Edition Rex GmbH München (track 16) P 2002 Chandos Records Ltd C 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

79 CHAN 3088 Inlay.qxd 21/5/07 5:17 pm Page 1 RC ODSNSVENS OPERETTA VIENNESE SINGS FORD BRUCE OPERETTA VIENNESE SINGS FORD BRUCE CHANDOS DIGITAL CHAN 3088

Emmerich Kálmán from Countess Maritza 4 ‘Play, gipsy’ 5:41 Franz Lehár 13 ‘Heavens, what’s happ’ning to me?’ 3:27 from The Land of Smiles 1 ‘You are my heart’s delight’ 3:53 14 ‘Vienna mine’ 4:19 6 ‘Patiently smiling’ 5:20 15 Carl Zeller ‘Love! What has given you this magic pow’r?’ 6:15 from The Birdseller 8 ‘My old father years ago’ 4:17 from Giuditta 11 ‘Comrades. this life is the life for me!’ 3:23 Robert Stolz from The Czarevitch 16 ‘We met in Vienna, my true love and I’ 4:47 12 ‘Alone, always alone’ 5:21 from The Song is Done from The Merry Widow 9 ‘Don’t ask me why I’m leaving’ 4:41 17 ‘Words forbidden’ 3:20

Jacques Offenbach Oscar Straus from A Waltz Dream from La Belle Hélène 10 ‘Softly, so softly’ 4:53 2 ‘On Mount Ida’ 3:47 TT 74:45 Johann Strauss II with Helen Williams from The Gipsy Baron Alan Opie and 3 ‘Who made us one?’ 3:55 Geoffrey Mitchell Choir 7 ‘Since I was left an orphan lad’ 2:58 Bruce Ford tenor HN3088 CHAN HN3088 CHAN CHANDOS CHANDOS from A Night in Venice London Philharmonic Orchestra 5 ‘Love is a delicate flower’ 3:14 Walter Weller DDD

CHANDOS RECORDS LTD p 2002 Chandos Records Ltd C 2002 Chandos Records Ltd Colchester . Essex . England Printed in the EU