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Great Operetta Recordings VIENNESE OPERETTA GEMS 110292bk Viennese 27/4/03 6:22 pm Page 2 1 Als flotter Geist, doch früh verwaist 7 Schenkt man sich Rosen in Tirol @ Im Chambre séparée & Schön wie die blaue Sommernacht ADD from Der Zigeunerbaron 2:52 from Der Vogelhändler 2:44 from Der Opernball 3:03 from Giuditta 3:17 Great Operetta Recordings (Johann Strauss II–Ignaz Schnitzer) (Karl Zeller–Moritz West–Ludwig Held) (Richard Heuberger–Viktor Léon–Heinrich von (Franz Lehár–Paul Knepler–Fritz Löhner) 8.110292 Charles Kullmann, tenor; members of the Chorus Walther Ludwig, tenor; Lillie Claus, soprano; Waldberg) Jarmila Novotná, soprano; Richard Tauber, tenor; & Orchestra of the Staatsoper, Berlin, conducted chorus & orchestra of the Berlin Staatsoper Richard Tauber, tenor; orchestra conducted Vienna Philharmonic Orchestra conducted by by Clemens Schmalstich conducted by Gerhard Steeger by Erich Wolfgang Korngold Franz Lehár 1 Columbia WR 488 (Berlin, 1932) Deutsche Grammophon 933 /2 GE9 Parlophon-Odeon Be 9424-2 (Berlin, 1932) Odeon VE 2099-3 (Vienna, 1934) 2 Vem oss har vigt? (Wer uns getraut?) (Berlin, 1940) # Lippen schweigen * Heimatland from Der Zigeunerbaron 3:11 8 Ich hab’ kein Geld from Die lustige Witwe 2:56 from Monika 3:18 VIENNESE (Johann Strauss II–Ignaz Schnitzer) from Der Bettelstudent 1:39 (Franz Lehár–Viktor Léon–Leo Stein) (Nico Dostal–Hermann Hermecke) Jussi Björling, tenor; Hjördis Schymberg, (Karl Millöcker–Richard Genée–F. Zell) Dusolina Giannini, soprano; Marcel Wittrisch, Anni Frind, soprano; orchestra conducted by OPERETTA soprano; orchestra conducted by Nils Grevillius Franz Völker, tenor; members of the Berlin tenor; orchestra conducted by Bruno Seidler-Winkler (Sung in Swedish) Staatsoper Orchestra conducted by Alois Bruno Seidler-Winkler Electrola ORA 2789 (Berlin, 1938) GEMS Swedish HMV OSB 741-5 (Stockholm, 1938) Melichar Electrola ORA 3228 (Berlin, 1938) ( 1 Ich liebe dich 3 Mein Herr Marquis Deutsche Grammophon 5674 /2 GR 8 $ Ich bin ein Zigeunerkind from Zauber der Bohème 3:01 Classic performances by from Die Fledermaus 3:22 (Berlin, 1934) from Zigeunerliebe 3:18 (Robert Stolz) (Johann Strauss II–Richard Genée–Carl Haffner) 9 Komm’, Zígan’ (Franz Lehár–Viktor Léon–Leo Stein) Marcel Wittrisch, tenor; orchestra conducted by Jussi Björling Elisabeth Schumann, soprano; orchestra from Gräfin Mariza 3:09 Joseph Schmidt, tenor; orchestra conducted by Bruno Seidler-Winkler conducted by Karl Alwin (Emmerich Kálmán–Julius Brammer–Alfred Felix Günther Electrola ORA 2331 (Berlin, 1937) Hilde Gueden HMV Bb 12008 (London, 1927) Grünwald) Odeon 85273-3 (Berlin, 1936) ) Liebe, du Himmel auf Erden Richard Tauber 4 Trinke, Liebchen, trinke schnell Marcel Wittrisch, tenor; orchestra conducted % O Mädchen, mein Mädchen from Paganini 3:10 from Die Fledermaus 3:19 by Ernst Hauke from Friederike 2:44 (Franz Lehár–Paul Knepler–Béla Jenbach) Franz Völker (Johann Strauss II–Richard Genée–Carl Haffner) Electrola OD 1335 (Berlin, 1932) (Franz Lehár–Ludwig Herzer–Fritz Löhner) Hilde Gueden, soprano; Kingsway Symphony Franz Völker, tenor; Elsa Kochhann, soprano; 0 Finale (Act 1) Franz Völker, tenor; orchestra Orchestra conducted by Hans May Marcel Wittrisch orchestra conducted by Joseph Snaga from Die Bajadere 3:17 Polydor 805dk –IV (Berlin, 1928) Decca DR 13392 (London, 1949) Gitta Alpár Polydor 1689br (Berlin, 1929) (Emmerich Kálmán–Julius Brammer–Alfred ^ Bin verliebt, bin so verliebt 5 Lagunenwalzer Grünwald) from Schön ist die Welt 2:50 Walther Ludwig from Eine Nacht in Venedig 3:06 Gitta Alpár, soprano; Herbert Ernst Groh, tenor; (Franz Lehár–Ludwig Herzer–Fritz Löhner) (Johann Strauss II–Richard Genée–F. Zell) orchestra conducted by Otto Dobrindt Gitta Alpár, soprano; orchestra Elisabeth Schumann Julius Patzak, tenor; orchestra of the Berlin Odeon W133554-2 (Berlin, 1932) Parlophon-Odeon 38842-3 (Berlin, 1930) Staatsoper conducted by Alois Melichar ! Sei gepriesen, du lauschige Nacht Julius Patzak 1 Polydor 6143 /2 GD8 (Berlin, 1934) from Die Landstreicher 3:13 Charles Kullmann 6 Hab’ ich nur deine Liebe (Karl Michael Ziehrer–L. Krenn–C. Lindau) Research, Transfers and Digital Restoration by Peter Dempsey from Boccaccio 3:09 Sung and whistled by Elisabeth Schumann, and many others (Franz von Suppé–Richard Genée–F. Zell) soprano; orchestra conducted by Lawrence Julius Patzak, tenor; orchestra of the Berlin Collingwood Staatsoper conducted by Alois Melichar HMV OEA 4683-2 (London, 1937) Original Recordings 1 Polydor 6144 /2 GD8 (Berlin, 1934) 1927-1949 8.110292 56 8.110292 110292bk Viennese 27/4/03 6:22 pm Page 1 VIENNESE OPERETTA GEMS director of the Theater an der Wien, a post he held counterpoint, privately, under Zdenko Fibich and his first operetta success, Clivia, was premièred in returning to Vienna only in 1946. His work in the from 1869 to 1883. In its superbly integrated blend of Antonin Dvorˇák. His first opera, a flop, was produced Berlin, in 1933, starring his wife-to-be, the Viennese genre, however, endured until 1969, long after the Original Recordings 1927-1949 burlesque and romance, his greatest success Der at Leipzig in 1896 but by 1903, when he took up the coloratura Lillie Claus. Among his subsequent heyday of the Operette was past. Marked by a Bettelstudent (1882) has been rated the Viennese musical directorship of the Theater an der Wien, he successes were Die Vielgeliebte (1935) and Monika characteristic penchant for the nostalgic and languid, Mythical Vienna and operetta have long been elements of comedy and Singspiel. Among the most counterpart to Lecocq’s French opérette masterpiece was already famed for his popular waltz ‘Gold und (1937 – filmed in 1942 as Heimatland, its hit-song is Stolz’s anachronistic but highly popular works in the synonyms and our brief survey of the Viennese prolific of these was Franz von Suppé (really La fille de Madame Angot. Self-taught, from 1863 Silber’ Op.75. In 1905, after five moderate operetta sung here by the Bohemia-born star of the Berlin Viennese idiom, which were variously mounted in Operette therefore appropriately begins with well- Francesco Ezecchiele Ermenegildo, Cavaliere Suppé- Ziehrer toured Austria and Germany with his own successes, his fortuitous assumption of a libretto operetta stage Anni Frind, 1900-1987). Although Budapest, Berlin, Vienna, London and Zurich, known samples from the landmarks of the Viennese Demelli, 1819-1895). An aristocrat-turned-conductor dance orchestra before promoting popular concerts in rejected by Heuberger altered the dir-ection of only one of his stage works (Liebesbriefe, 1955) was include Der Tanz ins Glück (1920), Venus in Seide ‘Waltz King’ Johann Strauss II (1825-1899). Strauss of Dalmatian origin, Suppé penned more than 200 Vienna. The composer of about 600 marches and Viennese operetta. Die lustige Witwe first ran at the premièred in Vienna, all are moulded in the Viennese (1932) and Zwei Herzen im Dreivierteltakt (1933). was already a fêted exponent of Viennese dance works for the stage, including thirty-odd light operas waltzes he also wrote operettas, his most celebrated Theater an der Wien in 1905 for a record-breaking tradition. His last operetta, Rhapsodie der Liebe, was Outstanding among his many film-musical successes music before he turned to operetta, with Indigo, in and operettas of which several enjoyed high Die Landstreicher (1899). 483 performances. From 1907 it ran in London for first heard in Nuremberg in 1963. were Das Lied ist aus (1930), Liebeskommando 1871. He was born, spent most of his days and died popularity in Vienna. His 1860 work Das Pensionat By the second decade of the last century Viennese 778 and on Broadway for 416 and by 1909, when it A pupil of Robert Fuchs in Vienna and (1931) – both featuring Wittrisch – and Zauber der in Vienna where, with the exception of Eine Nacht in has, rightly or wrongly, been pinpointed as ‘the first operetta was dominated by two figures, both hit Paris, it had sparked new crazes in women’s Humperdinck in Berlin, Graz-born Robert Stolz Bohème, a 1937 re-vamp of Puccini’s opera with Venedig (Berlin, 1883), the premières of his operettas Viennese operetta’, but his most enduring success started his musical career as a répétiteur. A fine extra material by Stolz (including Ich liebe dich) all took place. His masterpieces and the quintessence was Boccaccio (1879), from which comes the Hungarians by birth and ancestry: Franz (originally fashion and altered global trends in operetta writing. pianist, he won early note as a conductor (including originally conceived for Polish opera and film tenor of the Viennese genre, Die Fledermaus and Der superbly lyrical Hab’ ich nur deine Liebe, Ferencz) Lehár (1870-1948) and Emmerich Lehár’s subsequent hits included Der Graf von the première of Lehár’s Die lustige Witwe). For Jan Kiepura (1902-1966) and his Hungarian soprano Zigeunerbaron date from 1874 and 1885 respectively. seamlessly delivered by Vienna-born star tenor Julius (originally Imre) Kálmán (1882-1953). A native of Luxemburg (1909) and Ziguenerliebe (1910 – its twelve years musical director at the Theater an der spouse, Marta Eggerth (born 1912). From the former comes Rosalinde and Alfred’s Act 1 Patzak (1898-1974). Siófok, Kálmán studied with organist-composer tenor solo is sung here with panache by the Romanian Wien, by 1940 he had emigrated to the USA, Peter Dempsey, 2003 ‘Drinking Duet’ (featuring Frankfurt-born tenor Prominent in the next generation, and all Hans Koessler in Budapest and settled in Vienna Joseph Schmidt, 1904-1942), in addition to several Franz Völker (1899-1965), an intermittent star of the Austrians, were Karl Zeller (1842-1898; born at St. where he wrote a succession of tuneful Viennese- vehicles for Linz-born tenor Richard Tauber (1891- Vienna State from 1931 to 1950) and the maid Peter-in-der-Au), Richard Franz Joseph Heuberger style operettas, beginning with Ein Herbstmanöver, 1948), including Paganini (1924 – from this the solo Adele’s coquettish Act 2 Mein Herr Marquis (sung (1850-1914), Karl Millöcker (1842-1899) and Karl first given in Budapest in 1908.
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