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Home , Anni Frind, Charles Kullman, Gitta Alpar, Herbert Ernst Groh, Jarmila Novotna, Julius Brammer

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 3:17 Great 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, ; members of the Chorus Walther Ludwig, tenor; Lillie Claus, soprano; Waldberg) , soprano; , tenor; & Orchestra of the Staatsoper, , conducted chorus & orchestra of the Berlin Staatsoper Richard Tauber, tenor; orchestra conducted Philharmonic Orchestra conducted by by Clemens Schmalstich conducted by Gerhard Steeger by 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) (–Hermann Hermecke) Jussi Björling, tenor; Hjördis Schymberg, (Karl Millöcker–Richard Genée–F. Zell) Dusolina Giannini, soprano; , 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 3:22 (Berlin, 1934) from Zigeunerliebe 3:18 () (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 Schmidt, tenor; orchestra conducted by Bruno Seidler-Winkler conducted by Karl Alwin (Emmerich Kálmán––Alfred Felix Günther Electrola ORA 2331 (Berlin, 1937) Hilde Gueden HMV Bb 12008 (, 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 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 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 3:06 Gitta Alpár, soprano; , 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 , 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 , 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 , 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 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 and with his own successes, his fortuitous assumption of a libretto operetta stage Anni Frind, 1900-1987). Although , Berlin, Vienna, London and , 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 waltzes he also wrote , 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 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 , it had sparked new crazes in women’s Humperdinck in Berlin, -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 (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, (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 -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 -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. While his subsequent Liebe, du Himmel, is sung by the Viennese star of here in the true style by Merseburg-born Michael Ziehrer (1843-1922), the last two both Vienna successes include Die Csardasfürstin (1915), more recent revivals, Hilde Gueden, 1917-1988), Also available from Naxos Historical ... soprano Elisabeth Schumann, 1888-1952); from the natives of Vienna. An official in the Austrian Die Bajadere (1921 – in the Act 1 finale Hungarian Friederike (1928), Schön ist die Welt (1930 – in this latter, Barinkay’s swaying opening waltz, crowned Ministry of Education, music for Zeller was only a soprano Gitta Alpár (1903-1991) is joined by Swiss Tauber’s partner was Gitta Alpár and Giuditta (in this, with a telling top C from the still underestimated hobby until his greatest success, Der Vogelhändler, tenor star of German radio Herbert Ernst Groh, 1905- Lehár’s swansong attempt at opera-writing staged at American tenor Charles Kullman (1903-1983), an was given in Vienna in 1891. Initially a civil engineer, 1982) and Die Zircusprinzessin (1926), his finest and the Vienna in 1934, Tauber shared the erstwhile star of the Berlin State, is followed by the Heuberger turned to music in 1876 following his most often performed work, Gräfin Mariza (Vienna, honours with Czechoslovakian opera soprano, and Act 2 duet with Saffi and some caressing mezza-voce appointment as chorus-master of the Vienna 1924) contains several rousing tunes, not least subse-quent singing film-actress Jarmila Novotná for which the Swedish Jussi Björling (1911-1960) Gesangverein. A noted music critic, editor and Komm’, Zígan’ (a fine vehicle for Belgian-born star (1907-1994). won world renown. sometime professor of music at the Vienna of the , Marcel Wittrisch, 1903- During the 1930s, with works by Robert Stolz In parallel with, and often rivalling, the younger Conservatoire, his sole operetta success, Der 1955). (1880-1975), Nico Dostal (1895-1981) and others, Strauss, a constellation of other composers active in Opernball, was first heard at the Theater an der Wien, Born in Komórom, like his father before him Viennese operetta made its first entrées into the new Austria and Germany continued the trends originally in 1898. The son of a Viennese jeweller, Millöcker Lehár served for a time as a military band-master. medium of the film musical. Scion of a musical set by Offenbach, introducing ad hoc in response to was variously a flautist and conductor before being Earlier, he had studied violin, piano and composition family, Dostal first worked in Berlin as a conductor popular demand more of the traditional ‘Viennese’ appointed, at Suppé’s recommendation, musical at the Conservatory and harmony and and arranger. He also wrote for stage and film before 8.110180-81 8.110176-77 8.110175 8.110292 23 8.110292 8.110292 4 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. While his subsequent Liebe, du Himmel, is sung by the Viennese star of here in the true soubrette style by Merseburg-born Michael Ziehrer (1843-1922), the last two both Vienna successes include Die Csardasfürstin (1915), more recent revivals, Hilde Gueden, 1917-1988), Also available from Naxos Historical ... soprano Elisabeth Schumann, 1888-1952); from the natives of Vienna. An official in the Austrian Die Bajadere (1921 – in the Act 1 finale Hungarian Friederike (1928), Schön ist die Welt (1930 – in this latter, Barinkay’s swaying opening waltz, crowned Ministry of Education, music for Zeller was only a soprano Gitta Alpár (1903-1991) is joined by Swiss Tauber’s partner was Gitta Alpár and Giuditta (in this, with a telling top C from the still underestimated hobby until his greatest success, Der Vogelhändler, tenor star of German radio Herbert Ernst Groh, 1905- Lehár’s swansong attempt at opera-writing staged at American tenor Charles Kullman (1903-1983), an was given in Vienna in 1891. Initially a civil engineer, 1982) and Die Zircusprinzessin (1926), his finest and the in 1934, Tauber shared the erstwhile star of the Berlin State, is followed by the Heuberger turned to music in 1876 following his most often performed work, Gräfin Mariza (Vienna, honours with Czechoslovakian opera soprano, and Act 2 duet with Saffi and some caressing mezza-voce appointment as chorus-master of the Vienna 1924) contains several rousing tunes, not least subse-quent singing film-actress Jarmila Novotná for which the Swedish Jussi Björling (1911-1960) Gesangverein. A noted music critic, editor and Komm’, Zígan’ (a fine vehicle for Belgian-born star (1907-1994). won world renown. sometime professor of music at the Vienna of the Berlin State Opera, Marcel Wittrisch, 1903- During the 1930s, with works by Robert Stolz In parallel with, and often rivalling, the younger Conservatoire, his sole operetta success, Der 1955). (1880-1975), Nico Dostal (1895-1981) and others, Strauss, a constellation of other composers active in Opernball, was first heard at the Theater an der Wien, Born in Komórom, like his father before him Viennese operetta made its first entrées into the new Austria and Germany continued the trends originally in 1898. The son of a Viennese jeweller, Millöcker Lehár served for a time as a military band-master. medium of the film musical. Scion of a musical set by Offenbach, introducing ad hoc in response to was variously a flautist and conductor before being Earlier, he had studied violin, piano and composition family, Dostal first worked in Berlin as a conductor popular demand more of the traditional ‘Viennese’ appointed, at Suppé’s recommendation, musical at the Prague Conservatory and harmony and and arranger. He also wrote for stage and film before 8.110180-81 8.110176-77 8.110175 8.110292 23 8.110292 8.110292 4 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. While his subsequent Liebe, du Himmel, is sung by the Viennese star of here in the true soubrette style by Merseburg-born Michael Ziehrer (1843-1922), the last two both Vienna successes include Die Csardasfürstin (1915), more recent revivals, Hilde Gueden, 1917-1988), Also available from Naxos Historical ... soprano Elisabeth Schumann, 1888-1952); from the natives of Vienna. An official in the Austrian Die Bajadere (1921 – in the Act 1 finale Hungarian Friederike (1928), Schön ist die Welt (1930 – in this latter, Barinkay’s swaying opening waltz, crowned Ministry of Education, music for Zeller was only a soprano Gitta Alpár (1903-1991) is joined by Swiss Tauber’s partner was Gitta Alpár and Giuditta (in this, with a telling top C from the still underestimated hobby until his greatest success, Der Vogelhändler, tenor star of German radio Herbert Ernst Groh, 1905- Lehár’s swansong attempt at opera-writing staged at American tenor Charles Kullman (1903-1983), an was given in Vienna in 1891. Initially a civil engineer, 1982) and Die Zircusprinzessin (1926), his finest and the Vienna State Opera in 1934, Tauber shared the erstwhile star of the Berlin State, is followed by the Heuberger turned to music in 1876 following his most often performed work, Gräfin Mariza (Vienna, honours with Czechoslovakian opera soprano, and Act 2 duet with Saffi and some caressing mezza-voce appointment as chorus-master of the Vienna 1924) contains several rousing tunes, not least subse-quent singing film-actress Jarmila Novotná for which the Swedish Jussi Björling (1911-1960) Gesangverein. A noted music critic, editor and Komm’, Zígan’ (a fine vehicle for Belgian-born star (1907-1994). won world renown. sometime professor of music at the Vienna of the Berlin State Opera, Marcel Wittrisch, 1903- During the 1930s, with works by Robert Stolz In parallel with, and often rivalling, the younger Conservatoire, his sole operetta success, Der 1955). (1880-1975), Nico Dostal (1895-1981) and others, Strauss, a constellation of other composers active in Opernball, was first heard at the Theater an der Wien, Born in Komórom, like his father before him Viennese operetta made its first entrées into the new Austria and Germany continued the trends originally in 1898. The son of a Viennese jeweller, Millöcker Lehár served for a time as a military band-master. medium of the film musical. Scion of a musical set by Offenbach, introducing ad hoc in response to was variously a flautist and conductor before being Earlier, he had studied violin, piano and composition family, Dostal first worked in Berlin as a conductor popular demand more of the traditional ‘Viennese’ appointed, at Suppé’s recommendation, musical at the Prague Conservatory and harmony and and arranger. He also wrote for stage and film before 8.110180-81 8.110176-77 8.110175 8.110292 23 8.110292 8.110292 4 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 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 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 NAXOS Historical VIENNESE OPERETTA GEMS 8.110292

h 2003 HNH International Ltd g 2003 HNH International Ltd Made in E.C. 61:48 ADD

8.110292 www.naxos.com Playing Time Die 3:18 3:01 3:10 3:13 3:03 2:56 3:18 2:44 2:50 3:17 Die from Paganini Paganini from Friederike Schön ist from from from Der Opernball Der Opernball Anni Frind from and nourished by nourished and Die lustige Witwe Witwe Die lustige from Zauber der Bohème from Monika Orphée Elisabeth Schumann Joseph Schmidt from from Jarmila Novotná, Richard Tauber Richard Jarmila Novotná, Gitta Alpár Cover illustration by Talbot Hughes, 1907, for Talbot illustration by Cover NICO DOSTAL (1895-1981): NICO DOSTAL Heimatland (1880-1975): STOLZ ROBERT Ich liebe dich Marcel Wittrisch FRANZ LEHÁR (1870-1948): Liebe, du Himmel auf Erden Hilde Gueden KARL MICHAEL ZIEHRER (1843-1922): KARL MICHAEL Sei gepriesen,Nacht lauschige du Landstreicher (1850-1914): RICHARD HEUBERGER séparée Im Chambre Richard Tauber FRANZ LEHÁR (1870-1948): Lippen schweigen Wittrisch Dusolina Giannini, Marcel Ich bin ein Zigeunerkind Zigeunerliebe O Mädchen, mein Mädchen Völker Franz Bin verliebt, bin so verliebt die Welt Sommernacht Schön wie die blaue Giuditta * ( ) ! @ # $ % ^ & 2:52 3:11 3:19 3:06 3:09 2:44 1:39 3:09 3:17 3:22 Der Die from from from Boccaccio Die Fledermaus from Der Bettelstudent Der Zigeunerbaron Der Zigeunerbaron Gräfin Mariza from Charles Kullmann Die Bajadere Die Bajadere from from from is still rated the finest Viennese musical comedy) and Kálman until the and Kálman comedy) musical rated the finestis still Viennese VIENNESE OPERETTA GEMS OPERETTA VIENNESE from from Walther Ludwig, Lillie Claus Ludwig, Lillie Walther Franz Völke, Elsa Kochhann Völke, Franz and other key works by ‘Waltz King’ ‘Waltz genre flourished by The new works key and other Strauss II. Johann NOTES AND FULL RECORDING DETAILS CAN BE FOUND IN THE BOOKLET CAN BE FOUND IN AND FULL RECORDING DETAILS NOTES Marcel Wittrisch Finale (Act 1) Herbert ErnstAlpár, Groh Gitta Julius Patzak KARL ZELLER (1842-1898): Tirol in Schenkt man sich Rosen KARL MILLÖCKER (1842-1899): Ich hab’ Geld kein Völker Franz EMMERICH KÁLMÁN (1882-1953): Komm’, Zígan’ Der Zigeunerbaron Schymberg Jussi Börling, Hjördis Mein Herr Marquis Elisabeth Schumann Trinke, Liebchen, schnell trinke Venedig) (Eine Nacht in Lagunenwalzer Julius Patzak (1819-1895): SUPPÉ VON FRANZ Hab’ deine Liebe ich nur Joh. II (1825-1899): STRAUSS Als flotter Geist, früh verwaist doch har vigt? oss Vem Fledermaus Vogelhändler Vogelhändler

Research, Transfers and Digital Restoration by Peter Dempsey • Dempsey Peter Restoration by and Digital Transfers Research, ‘Souvenir of First Anniversary Performance in London’ of Lehár’s (Lebrecht Music Collection) in London’ Performance The MerryAnniversary Widow of First ‘Souvenir of Lehár’s Fledermaus 1905 masterpiece Lehár (whose via evolved and and Ziehrer, Zeiler Millöcker, with Suppé, Witwe Die lustige of the film-musical,advent with the wider audience. when, 1930s an even it reached Viennese dance traditions, operetta sprang to life in Vienna in the mid-1870s with with the mid-1870s in Vienna in life to sprang operetta traditions, dance Viennese Sparked by such imported French successes as Offenbach’s imported such as Offenbach’s successes French by Sparked 0 7 8 9 3 4 5 6 1 2

VIENNESE OPERETTA GEMS OPERETTA VIENNESE 8.110292 NAXOS Historical NAXOS