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Blossom Time BlossomROMBERG Time THE OHIO LIGHT OPERA Steven Byess CONDUCTOR Steven Daigle ARTISTIC DIRECTOR Blossom Time Music...............................Sigmund Romberg ENSEMBLE: (from themes of Franz Schubert) Natalie Ballenger, Ashley Close, Alexa Devlin, Adam Fieldson, Malia Book and Lyrics.................Dorothy Donnelly French, Mary Griffith, Kristina Hanford, Matthew Hill, Benjamin Krumreig, Andrew Maughan, Olivia Maughan, Suzanne Oberdorfer, Nathan Owen, Ohio Light Opera Allison Schumacher, Jarrett Smith, Mary Snyder, Ruby White. Artistic Director........................Steven Daigle Conductor.................................Steven Byess PROGRAM NOTES ...............................Michael D. Miller Stage Director.......................Ted Christopher It was inevitable that the oper- Sound Designer..........................Brian Rudell etta world would eventually tap into Choreographer.....................Carol Hageman the seemingly bottomless well of Costume Designer.................Charlene Gross melodies of Austrian composer Scenic Designer..................C. Murdock Lucas Franz Schubert (1797-1828). His Lighting Designer....................Krystal Kennel tunes remain, after almost two Production Stage Manager...Katie Humphrey centuries, among the most beloved CAST: and recognized on classical music Franz Schubert.....................Justin Berkowitz “Top 40” lists. Mitzi...........................................Amy Maples The first recycling of Schubert Franz Schubert (1797-1828) Baron Schober................................Luke Bahr music for use in operetta occurred in Franz von Suppé’s 1864 Count Scharntoff..................Ted Christopher one-act work titled Franz Schubert. A half-century later, Hun- La Bellabruna..........................Caroline Miller garian-born composer Heinrich Berté, with a dozen operetta Herr Kranz................................Boyd Mackus titles under his belt, but no significant hit, teamed up with Fritzi......................Danielle McCormick Knox librettists Arthur Willner and Heinz Reichert to produce one of Kitzi...............................................Sarah Best the most successful operettas of all time, Das Dreimäderlhaus Vogl.........................................Stephen Faulk (The House of the Three Maidens). Berté’s first attempt at the Kuppelweiser.................Christopher Cobbett show was apparently rejected by the producer because it Schwind.......................................Brad Baron contained too much of Berté and too little of Schubert. Binder..........................................Jacob Allen Swallowing his pride, Berté rescored the work and relied Erkmann...................................John Callison almost totally on Schubert melodies. The show opened at Frau Kranz............................Olivia Maughan Vienna’s Raimundtheater in 1916 and, by a decade later, Greta...........................................Ruby White had already passed its 1000th performance at that venue, Novotny.....................................Mary Snyder to say nothing about the multitude of productions around Frau Coburg...................Suzanne Oberdorfer the world. ❦ 2 ❦ Times spoke of “immortal melodies, of a beauty that often lies near to tears,” as audiences embraced the sad ending, did not mind that the music was “used,” and were able to suspend any acrimonious feelings about Vienna and Austria, against whom America had just fought a war. The show played for more than 500 performances and became one of the longest-running musicals in Broadway history. For those who might enjoy tracking down recordings of the Schubert source material for Blos- som Time—“Three Little Maids” comes from Rosamunde; “Serenade” derives from Ständchen, Sigmund Romberg (1887-1951) Dorothy Donnelly (1880-1928) included in the posthumous song-cycle Schwan- engesang. “My Springtime Thou Art” is found in By 1920, the Shubert brothers, Broadway’s most Écossaise (D. 735: 2) and Trauerwalzer (D. 365: 2). powerful show producers, had engaged Sigmund “Tell Me Daisy” comes from the second movement Romberg and librettist Dorothy Donnelly to “revise of the Unfinished Symphony; “Love’s a Riddle” and adapt” the original Viennese operetta. Both, derives from the song Heidenrösslein. “Only One however, put their personal stamps on the show. Love” appears in the song Die Forelle (The Trout) Romberg recast the rhythms and meters of several and in the first movement of the Piano Sonata (D. songs to provide a more rollicking, waltz-filled 568). “Thou Art My Love” stems from the song operetta atmosphere. (Das Dreimäderlhaus, in fact, Ungeduld in the song cycle Die schöne Müllerin, was labeled a “singspiel,” and had a more folksy and “Peace to My Lonely Heart” is Ave Maria. quality than most of the Viennese operettas of the time.) Romberg’s principal stroke of genius was to employ, as a recurring Leitmotif, in fact, the sublime melody (titled here “Song of Love”) from the first PRODUCER’S NOTE: movement of Schubert’s Unfinished Symphony, a The entire musical score from the acclaimed 2012 tune that had been virtually ignored in Berté’s ver- OLO summer production of Blossom Time is sion. Donnelly’s re-working of the highly fictionalized recorded here, with a truncated version of the story of Schubert and his circle of friends included an spoken dialogue. For further information about ending quite different from that in Vienna. the full performance edition, please contact: After a six-month out-of-town tryout period, OLO online at ohiolightopera.org or by email Blossom Time opened on September 29, 1921 at at [email protected]. Broadway’s Ambassador Theater. The New York ❦ 3 ❦ PLOT SYNOPSIS (who are secretly engaged), and Schubert asks Schober to woo ACT I. before things get serious, Scho- Mitzi on his behalf with a new The penniless Viennese com- ber intervenes and tells Kranz love song. The power of the poser Franz Schubert and his that the third daughter Mitzi has music works—but Mitzi finds friends Baron Schober, Vogl, come for singing lessons with herself attracted to Schober, to Kuppelweiser and Schwind sit Schubert. He also manages to Schubert’s horror. at an outdoor café. Schubert is convince Herr Kranz to accept ACT III. approached by the wealthy the two engagements. Left Two months later. Schubert is Count Scharntoff and asked to alone with the shy composer, very ill, cannot manage to go compose a love-song the Count Mitzi says she knows all his out to hear his new symphony can pass off as his own composi- songs. Schubert is smitten. performed, nor can he forget tion. The Count wants to im- ACT II. the image of Mitzi. Count press his wife, the opera singer Three months later, the wed- Scharntoff arrives; he has chal- Bellabruna, whom he suspects of ding day of the two daughters. lenged Schober to a duel and having an affair with Schober. Bellabruna arrives unexpectedly, Schubert though ill, talks him The three Kranz girls, Mitzi, worried that Baron Schober is out of it. Mitzi comes to apol- Fritzi and Kitzi, appear, having also attracted to the young ogize for the mix-up of the escaped from their father, Herr Kranz girl. She tries to poison names and vows to nurse Schu- Kranz who doesn’t care for Fritzi Mitzi’s mind about an “F.S.” bert back to health. He gently and Kitzi’s boyfriends. Papa ar- whom Mitzi assumes is Schu- assures her that she truly loves rives, discovers the two couples bert, not Schober. The shy Schober and reunites the two. FROM THE ARTISTIC DIRECTOR For almost 35 years The little of everything: a well-known Wooster, its community and Ohio Light Opera has been and lesser-known Gilbert and nearly 600,000 patrons who dedicated to producing, promo- Sullivan, a Viennese operetta, a have championed the company's ting and preserving the best of French operetta, an American dedication to operetta have given the traditional operetta reper- operetta and a revival of a long- OLO a reputation that reaches toire. In any summer season, forgotten work that is given a internationally. In no small way, 20,000 patrons come to hear much-deserved rebirth for an Albany Records has added to the and see more than sixty perfor- appreciative audience. This CD company’s success. The company mances of seven productions on set will hopefully give the oper- and the operetta art form are the beautiful campus of The Col- etta aficionado a taste of what indebted to John Ostendorf and lege of Wooster in Ohio. These makes this company unique. Albany for their commitment. shows offer the operetta fan a The support of the College of Steven Daigle ❦ 4 ❦ Blossom Time The promise of spring has come true. join us, and he never has a penny. Tulips and daffodils VOGL Overture CD ONE, Track 1 Washed by the rain, Oh, don’t worry. The other Franz will Springtime and love time be along presently. ACT ONE Are with us again. SCHWIND Outdoor cafe in Vienna, Spring 1826. THE FRIENDS Ah! Our wealthy young blood, Opening Track 2 Lilacs and pansies... Baron Schober. Good! His credit will ALL (enter happily) FRIENDS, then ALL carry us. Hail! Hail! Let us greet... KUPPELWEISER Let us greet the spring with singing. By the way, is there any truth to his Wine, golden in the glasses ringing. Birds gaily in the sky are singing. affair with Bellabruna? Why should we have a care? Why should we have a care... VOGL Joy is everywhere, so fill your glasses, (General merriment.) It’s the talk of the Opera. Bellabruna All you lads and lasses. Scene Track 3 is mad about him. Let all the gloomy preachers sorrow. KUPPELWEISER SCHWIND We’ll never
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