Csardas Princess (Remastered) Vienna Operetta Chorus, Vienna Volksoper Orchestra & Josef Drexler

• Emmerich Kalman (1882 - 1953):
• 1Kalman: Ouverture02:47
• 2Kalman: Heia, Heia, in den Bergen02:47
• 3Kalman: Alle sind wir Sünder02:09
• 4Kalman: Sylva, ich will nur Dich04:36
• 5Kalman: Aus ist's mit der Liebe02:55
• 6Kalman: O jag' dem glück nicht nach04:44
• 7Kalman: Ich warte auf dass grosse Wunder03:24
• 8Kalman: Erstralen die Lichter02:55
• 9Kalman: Heller Jubel04:32
• 10Kalman: Liebchen, Mich reisst es04:13
• 11Kalman: Mädel, Guck!02:11
• 12Kalman: Tanzen möch ich02:59
• 13Kalman: Yay, Maman & Nimm, Zigeuner, Deine Geige03:51
• 14Kalman: Reminiszenz01:11
• 15Kalman: Tausend Kleine Engel00:49
• Total Runtime46:03

Info for Csardas Princess (Remastered)

Kálmán’s great contribution to the musical language of Viennese operetta was to bring to it the brilliant colours, the heady rhythms and the dynamic energy of his native Hungary – not just as an imitator, like so many other composers, but as one who was speaking his own musical mother tongue. By the time he wrote Die Csárdásfürstin he was achieving an ideal blend of Hungarian soul, Viennese elegance and international sophistication. For the audiences which packed the Johann Strauss Theater for a record-breaking run during the dark days of the First World War it mirrored and preserved a way of life which they were beginning to realise had vanished for ever. They left the theatre feeling better than they had when they went into it, a quality which the piece still pre-eminently possesses.

Apart from a marvellously varied score, one which does not contain a single weak number, Die Csárdásfürstin benefits from an expertly constructed libretto by Leo Stein and Bela Jenbach. The characters are vividly etched, the comic dialogue is still genuinely funny, and the volte face which transforms doom and gloom into a happy ending is a classic of its kind. The mainspring of the plot, a mésalliance between aristocrat and showgirl, may seem today like something which could only exist in the pages of operetta, but that is far from true; in London society, for instance, many an eyebrow was raised when the Marquis of Headfort took as his bride a delectable Gaiety Girl named Rosie Boote The basic ambience of The Gypsy Princess is the world of what in London were called the Stage Door Johnnies, and though it may be tempting today to dismiss them as a bunch of idle wastrels it is worth remembering how many of them, whether from London, Vienna or Budapest, had, by November 1918, sacrificed their lives.

Liselotte Maikl, soprano
Hans Strohbauer, tenor
Wiener Operettenchor
Josef Drexler, conductor

Digitally remastered

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