1. Akte I
2. Akte II

Lona Farell - Esther Rethy
Harry Sullivan - Benno Kusche
Chester Kingsbury Jr - Willy Hofmann
Nelly Nettleton - Brigitte Mira
Roy Dexter - Herbert Ernst Groh
Lopez Ibanez - Ernst Fritz Ferbringer
Jim Slaughter - Fritz Rasp
Bill Sanders - Hans Hermann Schaufuss
Bonita - Mady Rahl
Fox - Kurt Schaidler
Danny - Rolf Assel
Cavarelli - Kurt Grosskurth

Chor des Bayerischen Rundfunks
Orchester des Bayerischen Rundfunks
Werner Schmidt-Boelcke, 1953

Arizona Lady is an operetta in two acts by Hungarian composer Emmerich Kálmán. The libretto was written by Alfred Grünwald and Gustav Beer. It premiered, as a broadcast in Munich on 1 January 1954, and on stage in Bern, at the Stadttheater, on 14 February 1954. Left unfinished at the time of Emmerich Kalman's death, it had been completed by his son, Charles Kalman.

Synopsis

The plot, set in the 1920s, concerns a Hungarian woman, Lona Farrell, whose father had emigrated to the US to search for gold. She now runs the Sunshine Ranch in Arizona. As the show begins, she fires her foreman, Jim Slaughter, for having tried to kiss her, and hires a stranger, Roy Dexter from Colorado, despite the concerns of Sheriff Harry Sullivan, who suspects that "Roy Dexter" may actually be the notorious outlaw, Burt Morton. But there is one condition on Roy's employment; he must never even mention the word "love" to Lona; she's had enough of that. Despite that, the sexual tension between Lona and Roy is manifest from the beginning.

Arizona Lady is a temperamental filly owned by Lola, and part of the foreman's job is to ride her at the big race in the Arizona State Fair. Roy succeeds in taming Arizona Lady, but is thrown in the race because the girth of his saddle has been cut by Jim Slaughter, who wins the race riding Mexican Cavalier, owned by the wealthy Lopez Ibanez. As a result of a bet on the race, Lona is now engaged to Sheriff Sullivan. At their engagement party, Bonita, a hired dancer from the Paradise Bar, identifies Roy as Burt Morton, and Roy is carted off to jail as news arrives that Arizona Lady has been stolen.

In jail, Roy meets the drunken vagabond Algernon Galahed Bentschley, who leads him to a tunnel he has dug that leads, not only out of the jail, but across the border into Mexico. They proceed to the Paradise Bar, which straddles the border; on the left side, there is Prohibition, on the right, Mexico and freedom. The Sheriff turns up, and Roy says he will cross the line back into Arizona to surrender to him, but only if he can have ten minutes to speak to Lona alone. He explains that his name truly is not "Roy Dexter"—but it is not "Burt Morton", either. He is really known as the "Colorado Kid", and he has long been pursuing Burt Morton, who killed his father. The Sheriff reenters, and tells Roy that he is free to go, that Jim Slaughter, who was the real Burt Morton, has been arrested, along with Sr. Ibanez, and that Arizona Lady has been recovered. Lona asks Roy to stay, but he says that he wants no payment or reward, but that if there is one thing he wants to take away from the Sunshine Ranch, it is Arizona Lady. She agrees to let the filly go.

Three months later, the whole cast visits Kentucky, where the Derby is about to run. Lona and the Sheriff are not married yet, but make another bet; if Arizona Lady wins this time, Lona will marry the Sheriff at once. The horse does indeed win, but Sheriff Sullivan, recognizing that Lona is really in love with "Roy", declares that the wedding must go on, only with a slight change of bridegroom.

In a comic subplot, Nellie Nettleton, proprietor of a mobile general store, and young Chester Kingsbury, Jr., the son of a meat-packing millionaire who has sent him to the Sunshine Ranch to toughen him up, deal with money troubles and with Nellie's problems caused by the fact that her sister, Magnolia, has told her (Magnolia's) fiancé that her (Magnolia's) illegitimate baby is really Nellie's.

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1. The Csárdás Princess

Anna Netrebko (Sylva Varescu)
Juan Diego Flórez (Edwin Ronald von und zu Lippert-Weylersheim)
Christina Landshamer (Countess Stasi)
Pavol Breslik (Graf Boni Káncsiánu)
Sebastian Wartig (Feri von Kerekes)
Bernd Zettisch (Fürst Leopold Maria von und zu Lippert-Weylersheim)
Sächsischer Staatsopernchor Dresden
Staatskapelle Dresden
Christian Thielemann - conductor

Silvesterkonzert der Staatskapelle Dresden
Semperoper Dresden (Dresden, Germany) 28 Dec. 2014

Die Csárdásfürstin, an operetta in three acts by Leo Stein and Béla Jenbach with music by Imre Kálmán, premiered on November 17, 1915 on the stage of the Johann Strauss Theater in Vienna. Almost immediately, numbers from the operetta, such as "Tanzen möcht ich," "Tausend kleine Englein singen," and "Machen wir's den Schwalben nach" could be heard in all the cafés in Vienna and spread swiftly throughout Europe.

In German-speaking areas of the Austro-Hungarian Empire (and much of the Hungarian area) the csárdás was exclusively associated with Gypsy music, because Gypsy musicians played them on the streets of Vienna and other cities. Thus, the title, Die Csárdásfürstin, is generally translated as The Gypsy Princess.

Hungarian by birth, Kálmán did not infuse his music with elements from Hungarian folk music to create a national flavor, as did Bartók and Kodály, but instead employed a stylized "Hungarian" sound associated with Liszt and his followers. When a new work by Kálmán was announced, the public anticipated "music with paprika." Largely because of such expectations Kálmán, Stein, and Jenbach entitled their new work, Die Csárdásfürstin despite its overabundance of Viennese waltzes.

On the surface, the operetta portrays the world of Budapest's Orpheum Theater and its decadent, wealthy patrons. For many, however, the operetta represented the last days of humanity, as Die Csárdásfürstin was staged while war raged in the Ardennes. Stein and Jenbach were as aware as anyone of the upheaval, writing such lines as, "Weisst du, wie lange noch der Globus sich dreht, ob es morgen nicht schon zu spät?" (Do you know how much longer the Globe will turn, whether tomorrow is already too late?) This question is answered later in the operetta with, "Man lebt ja nur einmal: tanzen möcht ich, singen möcht ich ... " (One lives only once: I want to dance, I want to sing ... ). The passing of the Old World is depicted in numerous ways, not the least of which was the coupling of an Austrian aristocrat, Edwin Ronald, with a "common" singer, Sylva Varescu. More telling, however, is the failure of Edwin's father's attempt to marry his son to a "proper," aristocratic woman, Countess Stasi. Furthermore, the libretto of Die Csárdásfürstin presents an unflattering picture of the Austrian military, an aspect of the operetta that outraged some critics and members of the public. ---John Palmer, Rovi

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1. Teil 1 (Die Zirkusprinzessin)
	ERSTER AKT
  [1]	Ansage - Einleitung 	  1:09
  [2]	Dialog mit Musik - Bravo, bravo, Herr Direktor 	  4:05
	Bronislawski - Pinelli - Chor
  [3]	Was in der Welt geschieht - Nur pour  l’amour 	  2:40
	Fedora - Chor
  [4]	Dialog 	  2:08
  [5]	Die kleinen Mäderln im Trikot 	  2:49
	Toni - Chor
  [6]	Dialog 	  1:41
  [7]	Glaubst du denn, ich wird’ mich kränken - Wenn du mich sitzen läßt 	  2:20
	Mabel - Toni
  [8]	Dialog 	  1:05
  [9]	Es ist noch Zeit - Zwei Märchenaugen 	  5:43
	Mr. X
[10]	Dialog 	  2:17
[11]	Ich liebe Sie 	  2:25
	Mr. X - Fedora
[12]	Dialog 	  4:36
[13]	Ich will Ihnen eine Geschichte erzählen 	  1:39
	Mr. X - Mabel (Melodram)
[14]	Wer wird denn gleich weinen, mein Kind 	  3:02
	Mr. X
[15]	Dialog 	  1:18
[16]	Hoheit hat uns eingeladen 	  1:22
	Toni - Mabel - Prinz - Chor
[17]	Dialog 	  0:59
[18]	Finale I: Vielleicht, mein Prinz, vielleicht - Einmal schlägt auch meine
	Stunde - Juppla, Josefinchen 	  6:17
	Fedora - Prinz - Mr. X - Chor

	ZWEITER AKT
[19]	Dialog 	  3:21
[20]	Den Reitersmann, den schneidigen - Mädel, gib acht 	  2:35
	Mr. X - Chor
[21]	Dialog 	  1:12
[22]	Wollen Sir mir nicht gestehn - Im Boudouir der schönsten Frau 	  4:59
	Fedora - Mr. X
[23]	Dialog 	  3:49
[24]	Wieder blüht die Primel - Liese, Liese, komm mit mir auf die Wiese 	  4:46
	Mabel - Toni
[25]	Dialog 	  3:03
[26]	Süßeste von allen Frauen - Ich und du, du und ich 	  2:32
	Mr. X - Fedora

2. Teil 2 (Die Zirkusprinzessin)

  [1]	Dialog 	  2:51
  [2]	Dialog - Hochzeitsfest! Welche Pracht - Leise schwebt das Glück vorüber 	  8:58
	Fedora - Mr. X - Mabel - Toni - Ensemble - Chor (Finale II)

	DRITTER AKT
  [3]	Dialog 	  6:27
  [4]	Nimmst du Abschied - Wo ist der Himmel so blau wie in Wien 	  2:07
	Mr. X
  [5]	Dialog 	  2:15
  [6]	Also wißt’s, Kinder 	  1:25
	Carla Schlumberger (Melodram)
  [7]	Dialog 	  4:48
  [8]	Mein Darling 	  1:02
	Fedora - Mr. X
  [9]	Absage	  1:38

	EMMERICH KALMAN
[10]	Melodienfolge aus „DER TEUFELSREITER“ 	13:33

	RUDOLF KATTNIGG
[11]	Potpourri aus „KAISERIN KATHARINA“ 	20:15
[12]	Potpourri aus „MÄDELS VOM RHEIN“ 	10:50

Fürstin Fedora Palinska	- Sari Barabas (Lola Müthel, Dialog)
Mr. X -	Franz Fehringer (Hans-Jörg Felmy, Dialoge)
Prinz Sergius Wladimir -	Gustav Knuth
Baron Brusowsky - Paul Bürks
Graf Saskusin - Hermann Beddig
Leutnant von Petrowitsch - Hermann Holve
Direktor Bronislawski - Hermann Pfeiffer
Pinelli, Regisseur - Herbert Hennies
Miss Mabel Gibson - Gretl Fröhlich
Carla Schlumberger, Hotelbesitzerin - Friedel Münzer
Toni, ihr Sohn - Walter Müller
Pelikan, Oberkellner - Hans Hansen
Maxl, Piccolo - Christine Obermeyer
Kölner Rundfunkchor (Eduard Hermann) 
Kölner Rundfunkorchester
FRANZ MARSZALEK  - conductor

Melodienfolge aus „Der Teufelsreiter“
Annemarie Hennig / Annelies Herfurth / Walter Anton Dotzer
Radioorchester Berlin / Kurt Gaebel

RUDOLF KATTNIGG
Potpourri aus „KAISERIN KATHARINA“
Sari Barabas (Katharina) 
Maria Beling (Katinka) 
Rudolf Christ (Plessen) 
Otto Falvei (Paning)
Chor und Großes Tanz- und Unterhaltungsorchester des Hessischen Rundfunks 
Erich Bärschel – conductor

Emmerich Kalman (1882-1953) ranks next to Franz Lehar as one of the leading representatives of the 'Silver Era' of the operetta, which was stamped above all by the works of the Austro-Hungarian cultural sphere, and which followed the classical period of the Viennese operetta. The roots of the phenomenal originality of his melodies lie in his love of Hungarian gypsy music and his natural affinity for the Viennese waltz tradition, which characterize such musically original, international successes as the operettas 'The Czardas Princess' (1915), 'Countess Maritza' (1924) and 'The Circus Princess' (1926). Kalman emigrated to America in 1939 but returned to Europe after the War and died in Paris on 30 October 1953. Beginning in the 1920s, he increasingly incorporated elements of modern dance music into his stage works. ---Editorial Review, amazon.com

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01. Act 1. No. 1. Lied. Heia, heia, in den Bergen ist mein Heimatland
02. Act 1. No. 2. Marsch-Ensemble. Alle sind wir Sünder
03. Act 1. No. 3. Duett. Sylva, ich will nur dich
04. Act 1. No. 4. Lied. Aus ist's mit der Liebe (Ganz ohne Weiber geht die Chose nicht...)
05. Act 1. No. 5. Lied (Ensemble). O jog dem Glück nicht nach (Ja so ein Teufelsweib)
06. Act 1. No. 6. Finale 1
07. Act 2. No. 7. Tanzwalzer. Erstrahlen die Lichter
08. Act 2. No. 8. Schwalbenduett. Ich warte auf das große Wunder (Machten wir's den Schwalben nach)
09. Act 2. No. 9. Duett. Heller Jubel
10. Act 2. No. 10. Quartett. Liebchen, mich reißt es
11. Act 2. No. 11. Duett. Mädel guck (Das ist die Liebe, die dumme Liebe)
12. Act 2. No. 12. Duett. Tanzen möcht ich (Tausend kleine Engel)
13. Act 2. No. 13. Finale 2
14. Act 3. No. 14. Terzett. Jay Mamám
15. Act 3. No. 16. Finale 3

Sylva Varescu: Martina Serafin
Edwin Ronald: Ferdinand von Bothmer
Komtesse Stasi: Kerstin Grotrian
Graf Boni Káncsiánu: Adrian Eröd
Leopold Fürst von und zu
Lippert-Weylersheim: Harald Serafin
Anhilte, seine Frau: Mirjana Irosch
Feri von Kerekes
(Feri Bácsi): Frigyes Harsányi
General Rohnsdorff: Michael Gampe
Notar Kiss: Gottfried Falkenstein

Festival Orchestra Morbisch
Morbisch Festival Choir
Dirigent Rudolf Bibl

This production of Emmerich Kálmán's Die Csárdásfürstin (The Gypsy Princess) is part of a series of recorded operettas presented by Seefestspiele Mörbisch, or in English, The Mörbisch Lake Festival, on the Oehms Classics label. Mörbisch Lake is a picaresque Austrian town near the Hungarian border that hosts an annual operetta festival in an open-air amphitheater capable of seating 6,000 operetta lovers. The festival, under the artistic direction of Harald Serafin, is swiftly becoming the Bayreuth of the operetta world, attracting some 200,000 visitors annually, but still can see the value of recording the productions for the benefit of attracting still more patrons. Judging from this 2002 recording of Die Csárdásfürstin, made in a studio environment, the standards of musical performance at Mörbisch Lake are high indeed and could hold pride of place, comparatively, with those at Bayreuth, if not exceed them altogether.

The singing is all around very good; there are no stand-alone performances among the cast, but as a whole, they work together well and don't get in each other's way. In order to get Die Csárdásfürstin onto a single disc, there is some subtle trimming of the score as recorded, yet it doesn't remove anything essential and keeps the work running at a good clip -- a few lines of dialogue are kept in order to maintain progression of the plot.

The Festival Orchestra Mörbisch under Rudolph Bibl is a bit scrappy in the fast music, yet some scrappiness does not at all hurt Die Csárdásfürstin and this may, at least in part, be intentional. Throughout Die Csárdásfürstin the band maintains a nice rhythmic energy and good sense of color. The recorded sound is clear, direct, and immediate. The booklet contains no more than a summary of the plot in English, although this is standard for most operetta recordings.

The fortunes of Die Csárdásfürstin seem to be looking up these days -- this is the second recording of the work to come up in a month's time. It's good to have choices, and for Die Csárdásfürstin this Oehms Classics disc is as good a choice as one could want. ---Uncle Dave Lewis, Rovi

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CD1
01 Overture
02 Act1.Dialog
03 Act1.Wir singen dir, wir bringen dir, ein Liedchen dar
04 Act1.Dialog
05 Act1.Wenn es Abend wird.. Gruss mir die sussen
06 Act1.Dialog
07 Act1.Lustige Zigeunerweisen
08 Act1.Dialog
09 Act1.Hor ich Zigeunergeigen.. Wo wohnt die Liebe
10 Act1.Dialog
11 Act1.O schone Kinderzeit.. Schwesterlein
12 Act1.Dialog
13 Act1.Ich bitte, nich lachen
14 Act1.Dialog
15 Act1.Auch ich war einst
16 Act1.Ei bravo, Herr Verwalter
17 Act1.Dialog
18 Act1.Bitte sehr, das ist doch gar nix, nein!
19 Act1.Will die Frau Grafin.. Eh ein kurzer Mond
20 Act1.Nein, das versprach die Grafin mir
21 Act1.Dialog
22 Act1.Komm, Zigany
23 Act2.Dialog
24 Act2.Herrgott, was ist denn heut' los
25 Act2.Dialog
26 Act2.Wenn ich abends schlafen geh'
27 Act2.Dialog
28 Act2.Dialog
29 Act2.Mein lieber Schatz.. Sag' ja, mein Lieb, sab' ja

CD2
01 Act2.Dialog
02 Act2.Junger Mann ein Madchen liebt
03 Act2.Dialog
04 Act2.Hei, Mariza, heute mach' dein Meisterstuck
05 Act2.Hab' mich einmal toll verliebt
06 Act3.Dialog
07 Act3.Komm mit nach Varasdin
08 Act3.Dialog
09 Act3.Eh' ein kurzer Mond ins Land mag entfliehn

Grafin Mariza ............................. Sena Jurinac
Graf Tassilo Endrody-Wittemburg ........... Karl Terkal
Lisa, seine Schwester ..................... Anneliese Rothenberger
Baron Koloman Zsupan ...................... Rupert Glawitsch
Furst Moritz Dragomir Populesco ........... Josef Olah
Furstin Bozena Cuddenstein zu Chlumetz .... Gustl Busch
Penizek, ihr Kammerdiener ................. Willy Maertens
Manja, Zigeunerin ......................... Traute Hoffmann
Karl-Stephan Liebenberg ................... Willy Witte
Tschkko, Diener Marizas ................... Albert Kriwat
Ilka von Dambossy.......................... Margarete Trampe
Mariska (kinder) .......................... Ulla Schmetzer
Sari (kinder) ............................. Inge Tietjen
Ersika (kinder) ........................... Helga Ackermann

Mitglieder des Kinderchors des NDR Hamburg
Chor des NDR Hamburg
Hamburger Rundfunk-Orchester
Wilhelm Stephan, conductor
Recorded 23-30 April 1952, Hamburg

Vienna 1924. By this time, there was no more Habsburg ceremonial in the imperial palace; the rose-edged beauty had gone from Schönbrunn castle; the once- .ourishing upper middle class had left the royal and imperial kingdom’s former realms on the Danube, there were no more pastoral village idylls around wells and vineyards; there were even no more shameful secret affairs between uniformed men of standing and milliners or “kept women”.

Whether in Vienna, Munich, Berlin or anywhere else – new forms and .gures were becoming visible in the glow of the historical furnace which forged the 1920s. The only certainty seemed to be: “Nothing is as it once was”.

When looking back, the fact that these years were one of the golden ages of operetta – in view of the wide-spread need to escape from worldly affairs, it probably even reached its prime during this period – seems to be one of the particular curiosities of this contradictory epoch; operetta of all genres, to whose popular strains the people of imperial Vienna and Berlin had danced, swayed, fallen in love – and marched.

However, the public had now changed, and the texts and music of the operettas took account of this: people just wanted to enjoy themselves. The music had to be light and sparkling, frivolity or even straightforwardness lewdness were applauded, sultry eroticism and sentimentality were preferred. Jobbers sat in the circle along with war pro.teers and swindlers. They set the tone to a large extent. People revelled and showed off what they had – as long as they still had it. The aristocracy had lost its lustre. In the Austrian republic, it had even been abolished by decree. Money paid for luxury, or even better – for relationships.

With the subject of “Countess Mariza”, Emmerich Kálmán plunged head.rst into this melange and achieved his ambition – after the “Csárdásfürstin” (Csárdás Princess, 1915) – of enjoying another sensational success. Two new momentous cooperations contributed to the creation of this work: Kálmán’s .rst contact with the librettists Julius Brammer and Alfred Grünwald and the collaboration with the multitalented operetta stager Hubert Marischka, who directed the Theater an der Wien in his role as star singer and impresario. Kálmán wrote most of his remaining works, which appeared regularly every two years, with Brammer/Grünwald and for Marischka and his stage.

Meanwhile, work on “Countess Mariza” was more laboured than earlier. Kálmán had already had parts of the libretto for several years, but it did not appeal to him at .rst, with the result that he .rst collaborated with the librettists to produce the strictly ironic, socially critical and clever “Bayadere” (1921).

It is true that people like the impoverished Count Tassilo in “Mariza”, who was suddenly forced to work for his daily bread, could be met in thousands on the streets after having lost the .rst World War. It was not necessary to use allegory when dealing with such a subject; it was starkly true to life, and at the same time was an ideal medium for conjuring up nostalgic yearning and memories of the glorious past. “Grüß mir mein Wien” (“Greet my Vienna for me”) and “Komm, Zigány” (“Come, Zigány”) are two of the most beautiful songs which Kálmán created for his Tassilo.

The plot, spiced with love, jealousy and pride, brought forth such moments of musical suspense that the composer’s inspiration took .re from them and blazed .ercely. Although bound to the events of those times, the result was a timeless work of art. Therefore, “Countess Mariza” has remained in public favour since its premiere on February 28, 1924. ---Richard Eckstein, oehmsclassics.de

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