111007 Bk Lehar EU 13/01/2005 10:06Am Page 12

Home , Cascada, The Merry Widow

111007 bk Lehar EU 13/01/2005 10:06am Page 12

FRANZ LEHÁR Also available: The Merry Widow

SCHW TH AR BE Z A K S O I P L F E

1 953 Recording

Elisabeth Schwarzkopf • Erich Kunz

8.110857 Nicolai Gedda • Emmy Loose Philharmonia Chorus and Orchestra Otto Ackermann

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Mark Obert-Thorn

Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been Great Operetta Recordings nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Franz Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His LEHÁR philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard (1870 – 1948) with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and The Merry Widow consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, (Die lustige Witwe) maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is Operetta in Three Acts absent from many other commercially released restorations. Libretto by Victor Léon and Leo Stein after Henri Meilhac

Hanna Glawari ...... Elisabeth Schwarzkopf (soprano) Count Danilo Danilowitsch ...... Erich Kunz (baritone) Camille de Rosillon ...... Nicolai Gedda (tenor) Valencienne ...... Emmy Loose (soprano) Baron Mirko Zeta ...... Anton Niessner (baritone) Raoul de Saint-Brioche ...... Josef Schmidinger (bass) Vicomte Cascada ...... Otakar Kraus (baritone)

Speaking parts: Valencienne ...... Hella Kurty Vicomte Cascada ...... André Mattoni

Philharmonia Orchestra and Chorus Otto Ackermann

Recorded 16th-18th and 21st April 1953 in Kingsway Hall, London First issued on Columbia 33CX 1051 and 1052

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Special thanks to Maynard F. Bertolet for providing source material for this release and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

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Producer’s Note 1 Overture 8:30 ! Hilfe kommt zur rechten Zeit! … 1:57 (Orchestra) O kommet doch, oh kommt, ihr Ballsirenen Recent EMI CD reissues of this classic recording have omitted the overture on the grounds that Lehár wrote it in (Danilo, A Woman, Women’s Chorus, All) 1940, some 35 years after the operetta, in a grandiose style at odds with the earlier work. However, one may Act I 26:03 suspect that the length of the overture was also a factor in this decision, since The Merry Widow was being @ O Vaterland, du machst bei Tag … 1:19 included as a second-CD “filler” for The Land of Smiles. In addition, in order to fit in the allotted time, some of 2 Verehrteste Damen und Herren 2:44 Der junge Mann tanzt Polka the dialogue from the original recording was cut, including the short exchange between Hanna and Zeta that begins (Cascada, Chorus, Zeta) (Danilo, Cascada, Saint-Brioche, Hanna, Track 7 of this disc. Valencienne, Men’s Chorus) This reissue presents the complete recording as originally intended by producer Walter Legge, Otto 3 Dialogue: Und jetzt, meine Herrschaften 0:47 Ackermann and the other artists, and allows the listener the option to skip the overture or hear it. Additionally, I (Zeta, Valencienne, Camille) # Pardon, Madame, zuviel Reklam’! 1:49 have corrected the slightly flat pitch heard on EMI’s LPs and CDs, bringing it up to the international concert (Camille, Hanna, Danilo, Valencienne, standard of A = 440 Hz. The name of the actor who takes the speaking part of Njegus is given neither in the 4 So kommen Sie! ’s ist niemand hier! 1:10 Saint-Brioche, Cascada, Men’s Chorus) original LP issue nor in subsequent CD reissues; however, Malcolm Walker’s research reveals that Karel Stepanek (Valencienne, Camille) is listed in the ledgers for this recording but not credited anywhere, so he may be the mystery cast member here. $ Der Letzte ging, Sie sind befreit 1:47 The present transfer was made from German EMI LP pressings. Some electronic clicks are present in the 5 Ich bin eine anständ’ge Frau 3:09 (Danilo, Hanna) original tape master, and can also be heard in EMI’s own CD editions. (Valencienne, Camille)

Mark Obert-Thorn 6 Dialogue: Exzellenz, Exzellenz, 3:27 Act II 37:25 die Glawari kommt … Bitte, meine Herrn! (Njegus, Zeta, Hanna, Cascada, Saint-Brioche, % Ich bitte, hier jetzt zu verweilen 2:54 Men’s Chorus) (Hanna, Chorus)

7 Dialogue: Gnaedige Frau, 0:58 ^ Nun laßt uns aber wie daheim … 5:36 ich rechne es mir zu hohen Es lebt’ eine Vilja (Vilja-Lied) (Zeta, Hanna, Njegus) (Hanna, Chorus)

8 Also bitte, ich bin hier. Wo ist Vaterland? 2:18 & Dialogue: Was sagen Sie, Njegus 1:39 O Vaterland, du machst bei Tag … (Zeta, Njegus, Hanna, Danilo) Da geh’ ich zu Maxim (Danilo) * Heia, Mädel, aufgeschaut … 2:56 Dummer, dummer Reitersmann 9 Dialogue: Njegus, Geliebter, wo ist Vaterland? (Hanna, Danilo) (Danilo, Njegus, Hanna, Valencienne, Zeta) 3:45 ( Dialogue: Herr von Cascada, 3:02 0 Mein Herrschaften, es ist Damenwahl … 2:40 verzichten Sie auf die Witwe! …Wie die Weiber … Damenwahl! … Es gibt keine größ’re Beleidigung Ja, das Studium der Weiber ist schwer (Zeta, Men’s Chorus, Hanna, Danilo, Cascada, (Saint-Brioche, Cascada, Danilo, Zeta) Saint-Brioche)

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) Dialogue: Valencienne, bitte geben … 1:55 Act III 7:08 & There is a rumour that Camille is to marry Hanna, ∞ Hanna now declares that Camille has proposed to Mein Freund, Vernunft! but Njegus tells Baron Zeta that Camille is in fact in her, looking at Danilo as she makes the claim, hoping (Camille, Valencienne) • Dialogue: Njegus, was ist das mit der Musik? 0:52 love with a married woman. The Baron thinks that the that this will induce Camille to admit the truth. Danilo (Zeta, Njegus) woman’s husband is a fool and should accept patriotic adds his belief in women’s policy of open doors and ¡ Wie eine Rosenknospe 2:21 duty and give his wife up. infidelity. (Camille, Valencienne) ª Ja, wir sind es, die Grisetten 2:32 (Valencienne, Grisettes) * Hanna has her eye on Danilo, who claims to be § Hanna accepts the Parisian idea of marriage without ™ Sieh dort den kleinen Pavilion 2:18 carrying out initial reconnaissance, like the cavalry fidelity. Danilo is aghast. (Valencienne, Camille) º Dialogue: Gospodina Glawari 0:44 officer he is. She makes fun of him. (Danilo, Hanna) ¶ He tells the story of two royal children. The prince £ Dialogue: Die Baronin und 1:20 ( Cascada and Saint-Brioche are still pursuing remained silent, and the princess provoked him by Herr Rosillon sind im Pavilion ⁄ Bei jedem Walzerschritt 1:59 Hanna, and Danilo, intriguing further, discusses the giving her hand to another; that was too much for him. (Njegus, Zeta, Danilo) [The Merry Widow Waltz] problems of dealing with women, joined by Baron Zeta. The prince then went away, and he will do the same, (Hanna, Danilo) and return to his girls Lolo, Dodo, Jou-jou and the rest. ¢ Ha! Ha! … Wie eine Rosenknospe 3:09 ) Camille is still addressing his attentions to (Danilo, Zeta, Hanna, Valencienne, Camille, ¤ Dialogue: Exzellenz, man hat 0:20 Valencienne, begging a token from her. She gives him Act III Njegus) im Pavilion diesen Fächer gefunden her fan, inscribed with the words ‘I am a respectable (Njegus, Zeta, Valencienne) married woman’. • Hanna’s palace has been transformed into a cabaret ∞ Dialogue: Nun wissen Sie, meine Herschaften … for Danilo. Njegus explains to the Baron what is Den Herrschaften hab’ ich was zu erzählen … ‹ Ja, das Studium der Weiber ist schwer 0:41 ¡ Camille tells her of his love, comparing his loving happening. Verlieb dich oft 2:36 (Hanna, Zeta, Danilo, All) heart to a rosebud, coming into bloom. Valencienne is (Hanna, Chorus, Camille, Valencienne, Danilo, tempted by his protestations. ª Valencienne dances a can-can with Lolo, Dodo, Zeta) Jou-jou, and the other cabaret girls. ™ He begs her to join him in the little pavilion in the § Ein flotter Ehestand soll’s sein 2:30 garden, where surely a secret can be kept. º Danilo tackles Hanna over her supposed match with (Hanna, Camille, Zeta, Valencienne, Chorus, Camille, but she assures him that she had no meeting Danilo) £ They are seen by Njegus, who tells the Baron, as he with Camille in the pavilion. approaches, that the pavilion is occupied by Camille ¶ Es waren zwei Königskinder 3:23 and a married woman. The Baron insists on looking ⁄ He realises that Hanna loves him, and she goes on (Danilo, Hanna, the Others) through the keyhole and is horrified to see his wife. to re-assure him in her famous waltz-song. Njegus, however, succeeds, in the general confusion, in replacing Valencienne with Hanna. ¤ The Baron is perturbed, after Valencienne’s fan is found in the pavilion, but is consoled by the words ¢ Danilo and the Baron are astonished, the former inscribed on it, ‘I am a respectable married woman’. appalled that Hanna has seemingly had an assignation with Camille. Valencienne appears, seeking to learn the ‹ All ends happily, with the company reflecting on cause of the uproar. The Baron feels sure he has seen his the inscrutable nature of women. wife with Camille. Hanna wants him to admit that he has been with Valencienne and not with her. Camille, Keith Anderson under this persuasion, repeats his tale of love, to the discomfort of Danilo, and the relief of the Baron. 8.111007 4 9 8.111007 111007 bk Lehar EU 13/01/2005 10:06am Page 8

Synopsis 9 Danilo soon drops off, but is aroused by Hanna. It Franz LEHÁR (1870-1948) seems they had once been lovers, but he does not want The Merry Widow (Die lustige Witwe) 1 Overture to join the crowd of men attracted by her money. Baron Zeta explains to Danilo his plan that Danilo should The year 2005 marks the centenary of the première of renowned singers, a symphony orchestra of the highest Act I marry Hanna and keep her money for their own country. The Merry Widow, first given at the Theater an der quality and a conductor who really understood the Wien in Vienna on 30th December 1905. The success of idiom at last showed the true quality of this most 2 The scene is set in the embassy of Pontedevro in 0 The men compete for Hanna’s attention. Danilo the new work was to change the destiny of Franz Lehár popular work. The mastermind behind the project was Paris, where the birthday of the Pontevedrin ruler is wishes them away, but the guests, including Cascada almost overnight. The work was given throughout the record producer Walter Legge (1906-1979). He had being celebrated. A French guest, the Vicomte Cascada, and Saint-Brioche object. The men seek to engage Europe, in Britain and the United States, breaking box- long wanted to record complete Viennese operettas but proposes a toast to their host, the Pontevedro envoy, Hanna as a partner in the dance, as a lady’s choice is office records and proving an overwhelming hit with felt the constraints of the old 78 rpm medium were not Baron Mirko Zeta, who replies. announced. audiences. It has been filmed, recorded, made into a suited to continuous music. It was following the full-length ballet, even an ice show. It has remained the introduction of the LP format that he could now achieve 3 He has no suspicions of his wife Valencienne, who ! Danilo enters in the nick of time, bringing with him most popular operetta ever written. Within two years a his goal. He would supervise this Merry Widow, The is engaged in conversation with another French guest, a group of girls to lure the men away from Hanna. They complete recording, comprising 32 single sides, was Land of Smiles, Vienna Blood, The Gypsy Baron, A Camille de Rosillon. dance off, leaving Hanna, Danilo, Cascada and Saint- made: an extraordinary undertaking for the time. As the Night in Venice and Die Fledermaus over a period of Brioche. composer later wrote: ‘I think an operetta should never just two years, all proving to be landmark recordings. 4 Moving aside, she refuses his attentions, now lose contact with human feeling and ideas. This is the This recording uses the concert overture that Lehár becoming too serious, and threatens to marry him off. @ Danilo, unwilling to fulfil his patriotic duty, has had secret of its impressiveness which, arousing emotion, is wrote for and dedicated to the Vienna Philharmonic enough, while Cascada and Saint-Brioche invite Hanna more profound, serious and purer than the effectiveness Orchestra on the occasion of his seventieth birthday in 5 She reminds him that she is a respectable married to dance. Valencienne appears with Camille, and of what is nothing but a show.’ April 1940. It is much more richly scored and is slightly woman, and warns him not to play with fire. proposes him as a likely partner for Hanna. What of the principal characters in this at odds with the composer’s musical language of 35 sophisticated intrigue? The heroine Hanna Glawari is a years earlier. Nevertheless, we do hear all the principal 6 The legation clerk Njegus announces the arrival of # Hanna, however, prefers Danilo, who tells her he is young, pretty, charming and vivacious widow, while the themes from the operetta, albeit in a richly embroidered Hanna Glawari, the widow of a rich banker, and she not dancing, and offers the dance she has proposed for hero Danilo is an aristocratic debonair playboy with a form. It must also be pointed out that the following soon finds herself the centre of attention to the men, in sale. Cascada and Saint-Brioche make off, but Camille taste for wine and an eye for women. He is also an items have been omitted from this recording: the particular to the envoy, who resolves that her money not accepts the offer, only to be deterred by the apparent attaché of the Pontevedrin Embassy in Paris. The Valencienne / Camille duet in Act 1 (‘Zauber der be lost to the Pontevedrin state. Combining the qualities jealousy of Valencienne. They go, leaving Danilo and Ambassador is the middle-aged, slightly pompous Häuslichkeit’), the Play-scene and Dance Duet of of beauty and wealth, she rejects flattery. Hanna alone. Baron Zeta, who is also a bit of a rogue. His wife is the Hanna and Danilo in Act 2, and the opening Entr’acte, naïvely amorous Valencienne who is loved by the Maxim’s music and the Cake-walk with the reprise ‘Da 7 Baron Zeta welcomes her, but is anxious to keep $ Danilo declares himself ready to dance. Hanna now ardent young Frenchman Camille de Rosillon. Add geh’ ich zu Maxim’, all from Act 3. her money for their country by ensuring her marriage to refuses, but soon falls into his arms and dances with some more diplomats, and spice with grisettes from the Critical acclaim for this recording exhausted all a compatriot. He sends for Count Danilo Danilowitsch, him. famous Café Maxim, stir and the ingredients are just superlatives: ‘To praise the performance, the recording a cavalry lieutenant and secretary to the legation who perfect. ... of the opera, as they deserve would exhaust the devotes mote attention to his pleasures than to his Act II Prior to the advent of the LP disc half a century ago, limited stock of laudatory adjectives in our language. duties. musical taste saw the operatic snob perceiving operetta Emmy Loose is exactly right, Nicolai Gedda is a superb % The second act is set in Hanna Glawari’s garden, as rather a low-brow and inconsequential form of Camille, Schwarzkopf sings Hanna so radiantly and 8 Danilo admits that he enjoys his pleasures, rather where she entertains her guests with Pontevedrin songs entertainment, more suited to amateur groups. True, The exquisitely, and Otto Ackermann conducts with than his duties as a diplomat, forgetting his country in and dances. Merry Widow was popular but it was not really a complete understanding and the Philharmonia the delights of female company in Paris cabarets. substantial stage work. What in no little way changed Orchestra plays like angels for him’, wrote Alec ^ Hanna follows with her song of a fairy, a Vilja, and this attitude was the release of this particular recording Robertson in the July 1953 edition of The Gramophone. the unrequited love of a huntsman. in the summer of 1953. The use of internationally The rôle of Hanna Glawari is undertaken by the 8.111007 8 5 8.111007 111007 bk Lehar EU 13/01/2005 10:06am Page 6

German soprano Elisabeth Schwarzkopf (b. 1915), the New York were between 1952 and 1954 when he sang Groom in the première of Orff’s Il trionfo di Afrodite. most of the principal baritone parts in addition to wife of Walter Legge whom she married in 1953. She 22 performances of four rôles, Beckmesser, Leporello, The following years saw him appear at the Paris Opéra creating Diomede in Walton’s Troilus and Cressida in studied at the Berlin Hochschule für Musik and later Faninal and Figaro. He again sang in London with the (Huon in Oberon), the Aix-en-Provence Festival, 1954 and King Fisher in Tippett’s The Midsummer with the soprano Maria Ivogun, making her début as Vienna Company in 1954. Kunz was a fine Mozartian Covent Garden (the Duke in Rigoletto), Salzburg Marriage the following year. He sang Alberich in the one of the Flowermaidens in Parsifal with the with an engaging stage manner. Festival (Belmonte in Die Entführung) and the Ring at Bayreuth between 1960 and 1962. Whilst not Städtische Oper, Berlin, in 1938. Originally a lyrical The rôle of Valencienne is sung by the Austrian Metropolitan in New York as Gounod’s Faust. In 1958 endowed with the greatest of voices, Kraus was a soprano she undertook rôles such as Adele in Die soprano, Emmy Loose (1914-1987), who was born in he created the rôle of Anatol in Barber’s Vanessa, superb singing actor who was greatly admired for his Fledermaus, Musetta in La Bohème and Zerbinetta in Karbitz/Aussig (on the Elbe) in Bohemia. Educated at which he also gave in Salzburg. He first sang Berlioz’s make-up skills. He retired in 1973 to teach. Ariadne auf Naxos when she joined the Vienna State the Prague Conservatory, she made her début in 1939 as Benvenuto Cellini at the Holland Festival in 1961, The recording’s producer Walter Legge had Opera under Karl Böhm in 1943. Her first overseas Blondchen in Die Entführung aus dem Serail in which he later repeated at Covent Garden in 1966, 1969 originally wanted Karajan as conductor for this appearance was with this Company on their visit to Hanover. Two years later she was engaged by the and 1976. He also appeared in Russia in 1980-81 to recording but he declined. Then he turned to the Swiss- London in 1948, when she sang Donna Elvira in Don Vienna State Opera to perform Ännchen in Der great acclaim. His London concert hall début took place naturalised Otto Ackermann (1909-1960) who proved Giovanni and Marzelline in Fidelio. She then joined the Freischütz. She sang there for 25 continuous years as a in 1986. He sang at the Met for 22 seasons in 27 rôles in to be an outstanding interpreter. Born in Bucharest, he fledgling Covent Garden Company where for five lyric and coloratura soprano. Loose also appeared 289 performances. He was still recording as recently as first studied there at the Royal Academy of Music seasons she sang a variety of rôles, mostly in English. regularly at festival seasons in Salzburg, Glyndebourne, 2002. Gedda has proved the most versatile lyric tenor of before moving to the Hochschule für Musik in Berlin, Alongside these appearances, Schwarzkopf sang at the Aix-en-Provence and Bregenz, in addition to his time with a vast discography covering every where his teachers were Georg Szell and Leo Prüwer. Salzburg Festival (1946-1964), La Scala, Milan (1948- engagements at La Scala, Milan. She appeared at conceivable aspect of the repertory. At the age of fifteen he conducted the Royal Romanian 1963), San Francisco (1955-1964) and, finally, at the Covent Garden in London with the Vienna Company in The Czech-born but later naturalised British Orchestra while they were on tour before accepting a Metropolitan in New York in 1964. She was greatly 1948 and as guest with the resident company, singing baritone Otakar Kraus (1909-1980) was born in position in the Opera House of his native city for the admired in the rôles of the Marschallin, Fiordiligi, the Sophie in Der Rosenkavalier and Susanna in Figaro Prague where he studied with Konrad Wallerstein 1925-26 season. He was appointed a Kapellmeister at Countess in Le nozze di Figaro and Donna Elvira. She during the 1949-50 season. She also sang in Japan and before moving to Fernando Carpi in Milan. Making his Düsseldorf Opera in 1928 and in 1932 moved to the also had a distinguished parallel career as a Lieder North and South America. From 1970 she taught at the début as Amonasro in Brno in 1935, he was a member German Opera in Brno. This was followed by an singer in the concert hall. She recorded a number of Vienna Academy of Music. Emmy Loose was admired of the Bratislava Opera from 1936 to 1939. With the appointment to the Municipal Theatre in Berne in 1935 operetta rôles including Rosalinde in Die Fledermaus in the operas of Mozart and Richard Strauss, a number outbreak of the Second World War Kraus eventually where he remained until 1947. Between 1949 and 1955 and Saffi in Der Zigeunerbaron. of which she recorded. came to Britain and joined the touring Carl Rosa Ackermann worked regularly at Zurich Opera in The Austrian baritone Erich Kunz (1909-1995) The versatility of the Swedish tenor Nicolai Gedda Company in 1940. As a member of the newly formed addition to the Theater an der Wien between 1947 and was assigned the rôle of Danilo. Born in Vienna, he has always been considered remarkable in that he has English Opera Group in 1946, he created Tarquinius in 1953. Then followed three years as Music Director at studied with Professor Lierhammer and the baritone sung in and can speak seven languages. Born in Britten’s The Rape of Lucretia at Glyndebourne, later the Cologne Opera. He returned to Zurich in 1958 but Hans Duhan. Making his début as Osmin in Mozart’s Stockholm of a Russian father, a bass member of the taking the rôle of the Vicar in Albert Herring, and soon became seriously ill, dying in 1960. Ackermann Die Entführung aus dem Serail in Troppau in 1933, he Kuban Don Cossack Choir and later cantor at the Lockit in Britten’s realisation of The Beggar’s Opera. was a fine conductor of both opera and operetta in spent the summer of 1935 as a member of the Russian Orthodox Church in Leipzig, and Swedish He joined Netherlands Opera for the 1950-51 season in addition to being admired as a sound Mozartian. Glyndebourne Festival Chorus. This was followed by mother, he studied with the Swedish tenor Carl Maria addition to creating the rôle of Nick Shadow in periods in Plauen (1936-37) and Breslau (1937-41) Oehman at the Swedish Royal Academy of Music. He Stravinsky’s The Rake’s Progress in Venice later that before joining the Vienna State Opera in 1940. Two made his début at the Royal Opera in Stockholm in year. This was followed by 22 years as a member of the Malcolm Walker years later followed his Salzburg Festival as Figaro. The 1951 in the première of Sutermeister’s Der rote Stiefe, Royal Opera House, Covent Garden. There he sang year 1943 saw Kunz at the Bayreuth Festival singing followed by the rôle of Chapelou in Adam’s Le Beckmesser in Die Meistersinger, a rôle he would postillon de Longjumeau in April 1952, an occasion repeat in 1951. He visited London in 1948 as a member which brought him to international attention. After of the Vienna Company, singing Leporello, Figaro and taking part in the first Western recording of Boris Guglielmo. He sang the latter rôle on his return to Godunov under Dobrowen (8.110242-44), Gedda made Gylndebourne in 1950. His years at the Metropolitan in his La Scala début in 1953 as Don Ottavio and the 8.111007 6 7 8.111007 111007 bk Lehar EU 13/01/2005 10:06am Page 6

7 Dialogue: Gnaedige Frau, 0:58 ^ Nun laßt uns aber wie daheim … 5:36 ich rechne es mir zu hohen Es lebt’ eine Vilja (Vilja-Lied) (Zeta, Hanna, Njegus) (Hanna, Chorus)

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Mark Obert-Thorn

Speaking parts: Valencienne ...... Hella Kurty Vicomte Cascada ...... André Mattoni

Philharmonia Orchestra and Chorus Otto Ackermann

Recorded 16th-18th and 21st April 1953 in Kingsway Hall, London First issued on Columbia 33CX 1051 and 1052

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FRANZ LEHÁR Also available: The Merry Widow

SCHW TH AR BE Z A K S O I P L F E

1 953 Recording

Elisabeth Schwarzkopf • Erich Kunz

8.110857 Nicolai Gedda • Emmy Loose Philharmonia Chorus and Orchestra Otto Ackermann

8.111007 12 NAXOS Historical LEHÁR: The Merry Widow 8.111007 . The most Time . 79:06 Playing uly 1953) uly ,J The Merry Widow The Merry The Gramophone ecording, renowned internationally featuring The year 2005 marks the centenary 2005 marks the The year of the of première written, ever popular operetta it has since been filmed, recorded, made into a full-length ballet, an ice show. even This famous 1953 r singers, of the highest orchestra symphony a who really quality and a conductor understood the idiom, first to show was the the true quality of the work. praise the ‘To performance, … of the opera, the recording exhaust the limited deserve would as they stock of laudatory in our language. adjectives right, Loose is exactly Emmy is Nicolai Gedda a superb Camille, sings Hanna Schwarzkopf and exquisitely,so radiantly and Otto with complete conducts Ackermann Philharmonia understanding and the Alec him’ ( angels for like plays Orchestra Robertson, Act IIAct III 35:28 7:08 ¶ ‹ - - % • Franz (1870 – 1948) (1870 LEHÁR (Die lustige Witwe) (Die lustige The Merry Widow Merry The Otto Ackermann in Kingsway Hall,in Kingsway London Philharmonia Chorus and Orchestra Orchestra Philharmonia Chorus and Recorded 16th-18th and 21st April 1953 16th-18th and 21st Recorded ADD OvertureAct I 9:00 36:20 8.111007 alencienne ...... Loose Emmy $ Hanna Glawari...... Elisabeth Schwarzkopf DanilowitschCount Danilo ...... Erich Kunz Camille de Rosillon ...... Gedda Nicolai V Zeta Mirko Baron ...... Anton Niessner Raoul de Saint-Brioche ...... Schmidinger Josef Vicomte Cascada ...... Otakar Kraus Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn photo: Collection) Potter Cover (Tully Elisabeth Schwarzkopf www.naxos.com - 1 2

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NAXOS Historical LEHÁR: The Merry Widow 8.111007 111007 rr Lehar EU 13/01/2005 09:48am Page 1 09:48am Lehar EU 13/01/2005 111007 rr