The Leading Classical Music Label Direct To You

Read reviews, listen to the music, and purchase the COMPACT DISC Best of Operetta, Vol. 1

Customer Service Toll Free 866.489.4152

Flash 9 required. Click to download.

Narrow your search
with our Music Browser

Classical Music

        Ballet
        Chamber Music
        Choral
        Concertos
        Film Music
        Folk Legends
        Instrumental
        Musicals
        Opera / Operetta
        Orchestral
        Vocal

Jazz

Jazz Contemporary
Jazz Icons

New Age

Wind Band

World

        Ballad
        Bhuddist
        Chinese Music
        Classical (World)
        Early Music (World)
        Folk
        Gamelan
        Gypsy
        Hindustani
        Jazz (World)
        Klezmer
        Sufi
        Vocal (World)
        World

Special Offers:

Sale on select Chandos titles

Sale on select BBC Legends Items

Naxos Classics Clearance Sale

Sale on select Naxos American Classics

Sale on Charles Dickens DVD Box Set

Sale on select box sets

Clearance on Complete Beethoven Edition

Sale on the Jazz Icons Series

Clearance

Penguin Guide

200 Essential Recordings

Recently Released

Upcoming Releases

SACD

DVD

        Ballet DVD
        Classical Concert
        Classical Documentary
        Dance Documentary
        Opera DVD

Audio Books

        Anthologies / Collections
        Arts
        Biographies
        Children's Classics
        Classic Fiction
        Great Epics and Tales
        History
        Junior Classic Fiction
        Junior History
        Literature
        Music Biographies
        Music Education
        Non-Fiction
        Philosophy
        Plays - Others
        Plays - Shakespeare
        Poetry
        Religion
        Samplers
        Sports
        Wine Guide

NaxosDirect Podcasts

Video Librarian Reviews

Labels

Naxos Label

        Naxos American Classics
        Naxos Best Of...
        Naxos Box Sets
        Naxos Cinema Classics
        Naxos Classics
        Naxos DVD
        Naxos DVD-Audio
        Naxos International
        Naxos Jazz
        Naxos Limited Edition
        Naxos Milken Archives
        Naxos Night Music
        Naxos Opera
        Naxos Orchestral
        Naxos Special Release
        Naxos Wind Band Classics
        Naxos World

Composers

Conductors

Ensembles

Orchestras

Choirs

Artists

Instruments

Producers

Best of Operetta, Vol. 1

Home

Classical Music

Opera / Operetta

View large image

$9.99 (COMPACT DISC)

In Stock - Usually ships within 24 hours.

Link to this COMPACT DISC Link to this page

The Best of Operetta Vol. 1 Operetta developed in the second half of the nineteenth century from very similar antecedents, the opera comique of France and...

Read more about this recording

The Best of Operetta Vol. 1

Operetta developed in the second half of the nineteenth century from very similar antecedents, the opera comique of France and the more light-hearted Singspiel of German-speaking countries. In Paris Offenbach, son of a Cologne synagogue cantor, established himself with his series of operas bouffes and it was initally with performances of these in Vienna that the genre took root there, inspiring work by Suppé and, at the earlier suggestion of Offenbach himself, Johann Strauss. Viennese operetta was in essence coterminous with the Habsburg Empire. After 1918 Berlin assumed the position once held by Vienna in operetta, and as popular musical tastes diverged more and more with the passing of time, the genre became something of the past, displaced by the commercial products of Broadway and its imitators.

The first volume of The Best of Operetta includes excerpts from operettas by Johann Strauss, Franz Lehár and Imre Kálmán. Strauss himself had followed his father's example, in spite of the latter's expressed desire, establishing his own dance-orchestra and later recruiting his two younger brothers, Josef and Eduard, into the family enterprise. The Strauss reputation extended far beyond the confines of Vienna and Strauss orchestras appeared in different cities of Europe, providing an entertainment that suited very well the spirit of the time. Johann Strauss first turned his attention to operetta partly at the suggestion of Offenbach and more immediately at the urging of his first wife, the singer Henriette Chaputzky. The first result was Indigo and the Forty Thieves in 1871, its performance relying for its inevitable success on the great popularity of its composer and the political feelings of the time, as Vienna seemed now to prove a match for Paris.

Johann Strauss was not always happy in his librettists. Der Zigeunerbaron (The Gypsy Baron), however, was an undoubted success in both music and text. The libretto by Ignaz Schnitzler was derived from a novel by the Hungarian writer Mór Jókai. Set in the middle of the eighteenth century it deals with the return of Sandor Barinkay to his native Temesvár from which his father had been exiled twenty years before. The drama concerns Barinkay's desire to regain his property, with its hidden treasure, and win the hand of the gypsy girl Sáffi, one of the gypsy company that has welcomed him as their lost leader, a true gypsy baron. Barinkay's varied earlier occupations are described in Ais flotter Geist (As a cheerful spirit) [6]. In Wer uns getraut (Who married us) [5] he explains to the unimpressed Royal Commissioner how he has been married to Sáffi in the gypsy manner, the ceremony conducted by a bullfinch and witnessed by two storks, with music provided by a nightingale. The present release opens with the Overture [1], which, at the first performance, was interrupted by the applause of the audience at each theme.

The appearance of Frühlingsstimmen [7] (Voices of Spring) in the theatre was purely accidental. Written for the coloratura soprano Bianca Bianchi, with words by Richard Genée, it was later included by her in a performance of Le Roi l'a dit by Delibes at the Vienna Court Theatre and subsequently won much greater popularity as an orchestral waltz and in a piano version.

Eine Nacht in Venedig (A Night in Venice), with an indifferent libretto by Zell (Camillo Walzel) and Genée, was first staged in Berlin at the Friedrich-Wilhelm Stadtischer Theater in 1883. Komm'in die Condole [13] (Come into the gondola) is sung by Caramello, barber to the Duke of Urbino, who thinks he is welcoming the Duke's betrothed, although the girl is, in fact, his own mistress.

Franz Lehár, in operetta the true successor to Strauss, was the son of a Hungarian bandmaster and for a time followed his father's example, before winning success in Vienna with what was in fact his eighth attempt at operetta, Die lustige Witwe (The Merry Widow), first staged at the Theater an der Wien in January 1905. The libretto was by Victor Leon and Leo Stein, based on a French original by Meilhac, Offenbach's collaborator. The plot concerns the widow of the title, Hanna Glawari, relict of a rich Pontevedrin banker, and the endeavours of the Pontevedrin envoy to Paris, Baron Zeta, to keep her fortune for Pontevedro by compelling a junior diplomat, Danilo, to marry her, before her money goes to some French husband. Previous difficulties engendered by various intrigues are resolved in the third act Lippen schweigen [12] (Lips are silent) between Hanna and Danilo.

Lehár's Giuditta realised for the composer an outstanding ambition, staged, as it was, at the Vienna staatsoper in 1934, making use of the full resources of the house. With a libretto by Fritz Löhner and Paul Kepler, the opera-operetta deals with the love of Giuditta, a role taken by Jarmila Novotna, tired of her husband Manuele, for the army captain Octavio, a role for Richard Tauber. It is Octavio who expresses his joy in living in Freunde, das Leben ist lebenswert [2] (Friends, life is worth living). She goes with him, when his regiment is posted to North Africa, and they live together in happiness until Octavio's duties call him away. Giuditta now becomes a dancer in a night club, where she attracts many rich customers, as is clear from Meine Lippen, sie küssen sa heiß [3] (My lips, so hot are their kisses). She prospers in her new profession, while Octavio eventually deserts from the army. By the time that they meet again he is a night-club pianist, while she continues as a successful dancer.

Friederike, written in 1928, is based on the life of Goethe. O Mädchen, mein Mädchen [4] (Girl, my girl) was written for Richard Tauber, who ensured its success. It was for the same singer that Lehár wrote Das Land des Lächelns (The Land of Smiles), with a libretto by Ludwig Herzer and Fritz Löhner. A revised version of the earlier Die gelbe Jacke (The Yellow Jacket), with a libretto by Victor Léon, this was first mounted at the Berlin Metropoltheater in 1929. The plot deals with the love between the Chinese Prince Sou-Chong, sung by Tauber, and Lisa, daughter of Count Lichtenfels. The best known of all songs is Dein ist mein ganzes Herz [8] (Thine is my heart), Tauber's signature tune, in which Sou-Chong protests his love for Lisa, when urged by Chinese custom to take four wives. The love of Lisa and Sou-Chong, after his return to China as prime minister, is expressed in Wer hat die Liebe uns ins Herz gesenkt? [9] (Who has planted this love deep in our hearts?). From the first act, set in Vienna, comes Immer nur lächeln [10] (Always only smiling), a reference to Sou-Chong's alleged inscrutability, and his description of courting customs in China, Van Apfelblüten einen Kranz [11] (A garland of apple-blossom).

The Hungarian composer Imre (Emmerich) Kalman, once a fellow-student of Bartók and Kodály in Budapest, gave up his more serious ambitions to achieve success after 1918 as a composer of operetta, winning particular popularity in 1924 with Gräfin Mariza (Countess Maritsa), with a libretto by Julius Brammer and Alfred Grünwald. Komm mit nach Varasdin [14] (Come with me to Varasdin) is a duet between the rich Hungarian countess of the title and Zsupan, who has turned up unexpectedly to claim her as his bride. Maritsa had tried to fend off suitors by claiming a certain Zsupan as her betrothed, taking the name from a character in Der Zigeunerbaron. Her true love will be Count Tassilo, who has been obliged to sell up and is now employed by her. As is the way of operetta, obstacles to the love of Maritsa and Tassilo are removed, and they are left at the end to enjoy happiness together.

Ingrid Kertesi
The coloratura soprano Ingrid Kertesi was born in Budapest and at first studied the cello. She had her training as a singer at the Liszt Academy and in Bayreuth, joining the Hungarian State Opera in 1986. Her career later took her to Vienna, where she sang the role of Olympia in Les Contes de Hoffinann, and to the Komische Oper in Berlin, where she sang Blonde in a production by Harry Kupfer of Mozart's Die Entführung aus dem Serail. 1992 brought the Hungarian Juventus Prize for performances as Gilda in Rigoletto, Olympia, Juliette in Gounod's Romeo et Juliette, Sophie in Der Rosenkavalier and other roles. Her international career has taken her to Israel, France, Switzerland and Italy, in addition to appearances in Japan.

Zsuzsa Csonka
Zsuzsa Csonka completed her conservatory studies as a violinist, later turning her attention to singing both at the Budapest Academy and in Vienna, where her teachers included Hans Hotter and Alexander Kollo. She has been a member of the Hungarian State Opera since 1984, singing roles that have included the Queen of the Night, Musetta, Oscar, Rosina, Norma, Adina, Gilda and Olympia, her coloratura roles leading to lyrical roles in opera and operetta. Her successful career has taken her, as a guest performer, to Switzerland, Italy, Austria, the Czech Republic, Germany, the United States of America and Canada.

János Berkes
Born into a musical family in the Hungarian town of Szentes, the tenor János Berkes completed his studies at the Budapest Liszt Academy in 1971, making his professional operatic debut as Lensky in Tchaikovsky's Eugene Onegin. Triumph in 1976 in the Treviso Toti dal Monte Competition was followed, in 1979, by the special prize of the International Jury in the Belgian Television Competition for his performance in opera and bel canto. A three-year engagement in Vienna brought appearances throughout the world, in the Americas, the Far East, Australia and the major countries of Europe. He has coupled leading tenor operatic roles with performance in Viennese operetta, including Die Zirkusprinzessin, Gräfin Mariza, Der Zigeunerbaron and Die Csárdás Fürstin. János Berkes is also known for his concert appearances in oratorio repertoire.

Hungarian Operetta Orchestra
The Hungarian Operetta Orchestra (North Hungarian Symphony Orchestra Miskolc) was founded in 1963. This dynamically developing concert orchestra plays a determining role in Hungarian music life, with a repertoire ranging from baroque to contemporary works. The orchestra has 84 members and gives around ninety concerts a year, appearing in the greatest concert halls around the world, working frequently under conductors of great distinction.

Lászlo Kovács
Lászlo Kovács studied at the Budapest Liszt Academy as a trombonist and as a conductor, making his debut in the latter capacity at the Hungarian State Opera at the age of twenty-one. After serving as an assistant to conductors such as János Ferencsik, Lamberto Gardelli, Giuseppe Patane and Yuri Simonow, he built an international career and since 1984 has been General Music Director of the North Hungarian Symphony Orchestra (Miskolc). In 1989 he was awarded the Ferenc Liszt Prize and in 1993 the Bartók Prize and since 1979 has been on the teaching staff of the Liszt Academy.

Disc 1

Der Zigeunerbaron

(more info)

Performed by: Slovak State Philharmonic Orchestra, Kosice Budapest Symphony Orchestra Hungarian Operetta Orchestra New York Metropolitan Opera Orchestra London Philharmonic Orchestra Nils Grevillius Orchestra Philharmonia Orchestra Berlin State Opera Orchestra Studio orchestra Morbisch Festival Orchestra
Composed by: Johann Strauss II
Conducted by: Anton Paulik Alfred Walter Frieder Weissmann Nils Grevillius Laszlo Kovacs Otto Ackermann Wilhelm Schuchter Walter Weller Rudolf Bibl Jan Schultsz Max Rudolf
Hanns Lange, tenor
Richard Tauber, tenor
Elisabeth Rethberg, soprano
Erika Koth, soprano
Charles Kullman, tenor
Janos Berkes, tenor
Hjordis Schymberg, soprano
Erich Kunz, baritone
Elisabeth Schwarzkopf, soprano
Joseph Schmidt, tenor
Ingrid Kertesi, soprano
Elena Batoukova, mezzo-soprano
Bruce Ford, tenor
Helen Williams, soprano
Helmut Berger-Tuna, bass
Lotte Lehmann, soprano
Gertrud Burgsthaler-Schuster,
Karel Stepanek,
Lea Seidl,
Martina Serafin, soprano
Monica Sinclair,
Rudolf Schock, tenor
Nicolai Gedda, tenor
Grete Merrem-Nikisch, soprano
Karin Branzell, mezzo-soprano
Waldemar Stagemann, bass
Peter Edelmann, baritone
Heinz Zednik, tenor
Harrie van der Plas, tenor
Christine Bath, soprano
Sigrid Martikke, soprano
Andreas Schagerl, tenor
Konrad Huber, bass
Noemi Nadelmann, soprano
Anny Schlemm, contralto
Jussi Bjorling, tenor
Hermann Prey, bass-baritone
Ljuba Welitsch, soprano
Willy Ferenz, bass
Erich Paulik, bass
Joseph Schmidinger, bass
Recording date: 1938

Giuditta

(more info)

Performed by: Vienna Philharmonic Orchestra Budapest Symphony Orchestra Hungarian Operetta Orchestra London Philharmonic Orchestra ORTF Lyric Orchestra Chandos Concert Orchestra Philharmonia Orchestra Studio orchestra Cologne Radio Symphony Orchestra Morbisch Festival Orchestra
Composed by: Fritz Lohner-Beda Franz Lehar
Conducted by: Barry Knight Adolphe Sibert Laszlo Kovacs Helmut Froschauer Walter Weller David Parry Rudolf Bibl Jan Schultsz
Andreas Post, tenor
Julia Bauer, soprano
Alain Vanzo, tenor
Anita Ammersfeld, soprano
Richard Tauber, tenor
Christine Brewer, soprano
Zsuzsa Csonka, soprano
Janos Berkes, tenor
Bruce Ford, tenor
Pieter Schoeman,
Jarmila Novotna, soprano
Noemi Nadelmann, soprano
Helge Rosvaenge, tenor
Marilyn Hill Smith, soprano
Mehrzad Montazeri,
Thomas Dewald, tenor
Tatjana Dravenau, piano
Jana Scharkowskaja, soprano
Natalia Ushakova, soprano
Markus Heinrich, tenor
Recording date: 1970

Freunde, das Leben ist lebenswert! - 3:17
Meine Lippen, sie kussen so heiss - 4:13

Friederike

(more info)

Performed by: Munich Radio Orchestra Hungarian Operetta Orchestra ORTF Lyric Orchestra Chandos Concert Orchestra Studio orchestra
Composed by: Fritz Lohner-Beda Franz Lehar
Conducted by: Barry Knight Ulf Schirmer Adolphe Sibert Laszlo Kovacs Heinz Fricke
Andreas Gotz, organ
Sylvia Schwartz, soprano
Simona Bruninghaus, soprano
Stefanie Ruckel, soprano
Atzuko Suzuki, soprano
Philipp Borner, vocals
Marian Kindermann, vocals
Robert Andrej Augustin, vocals
Georg Liener, violin
Valentin Radutiu, cello
Lina Dachary, soprano
Aime Doniat, baritone
Richard Crooks, tenor
Janos Berkes, tenor
Franz Volker, tenor
Klaus Florian Vogt, tenor
Marilyn Hill Smith, soprano
Jochen Kowalski, counter-tenor
Daniel Behle, tenor
Kristiane Kaiser, soprano
Frederick Schauwecker, piano
Barbara Fleckenstein, soprano
Leonardo Aramesco, tenor
Recording date: 1928

O Madchen, mein Madchen - 2:53

Fruhlingsstimmen (Voices of Spring), Op. 410

(more info)

Performed by: Hungarian Operetta Orchestra Philharmonia Orchestra
Composed by: Johann Strauss II
Conducted by: Laszlo Kovacs Robert Heger Walter Susskind
Maria Cebotari, soprano
Erna Berger, soprano
Ingrid Kertesi, soprano
Recording date: 25 May 1949

Fruhlingsstimmen (Voices of Spring), Walzer - 7:28

Das Land des Lachelns (The Land of Smiles)

(more info)

Performed by: MGM Studio Orchestra Munich Radio Orchestra Budapest Symphony Orchestra Hungarian Operetta Orchestra Kitchener-Waterloo Symphony London Philharmonic Orchestra Nils Grevillius Orchestra Chandos Concert Orchestra Philharmonia Orchestra Berlin State Opera Orchestra Berlin Deutsche Opera Orchestra Cologne Radio Symphony Orchestra Morbisch Festival Orchestra Linz Bruckner Orchestra Cologne Radio Orchestra Cologne West German Radio Orchestra
Composed by: Alfred Berg Fritz Lohner-Beda Franz Lehar
Conducted by: Barry Knight Ulf Schirmer Walter Lutze Selmar Meyrowitz Raffi Armenian Nils Grevillius Peter Guth Laszlo Kovacs Otto Ackermann Georgie Stoll Helmut Froschauer Walter Weller David Parry Rudolf Bibl Jan Schultsz
Andreas Post, tenor
Theodor Weimer, tenor
Henry Raudales, violin
Julia Bauer, soprano
Dietmar Kerschbaum, tenor
Irene Eisinger, vocals
Christine Brewer, soprano
Zsuzsa Csonka, soprano
Janos Berkes, tenor
Erich Kunz, baritone
Elisabeth Schwarzkopf, soprano
Joseph Schmidt, tenor
Timothy Robinson, tenor
Bruce Ford, tenor
Helen Williams, soprano
Pieter Schoeman,
Herbert Lippert, tenor
Lauritz Melchior, tenor
Nicolai Gedda, tenor
Harald Serafin, baritone
Elisabeth Flechl, soprano
Sangho Choi, tenor
Yoku Mitani, soprano
Toru Tanabe, baritone
Gideon Singer, vocals
Noemi Nadelmann, soprano
Alexander Kaimbacher, tenor
Jussi Bjorling, tenor
Marilyn Hill Smith, soprano
Thomas Dewald, tenor
Emmy Loose, soprano
Otakar Kraus, baritone
Tatjana Dravenau, piano
Jana Scharkowskaja, soprano
Camilla Nylund, soprano
Maria Leyer, soprano
Felix Kent, actor
Andre Mattoni, actor
Rupert Glawitsch, tenor
Piotr Beczala, tenor
Mark DuBois, tenor
Joanne Kolomyjec, soprano
Recording date: 31 December 1946

Dein ist mein ganzes Herz - 3:25
Wer hat die Liebe uns ins Herz gesenkt? - 5:36
Immer nur lacheln - 4:25
Von Apfelbluten einen Kranz - 4:07

Die lustige Witwe (The Merry Widow)

(more info)

Performed by: Cologne Symphony Orchestra Munich Radio Orchestra Budapest Symphony Orchestra Hungarian Operetta Orchestra London Symphony Orchestra Berlin Babelsberg Film Orchestra Prague Philharmonia London Philharmonic Orchestra Chandos Concert Orchestra Danish National Radio Symphony Orchestra Philharmonia Orchestra Studio orchestra Cologne Radio Symphony Orchestra Morbisch Festival Orchestra Linz Bruckner Orchestra Cologne Radio Orchestra
Composed by: Erich Wolfgang Korngold Franz Lehar
Conducted by: Barry Knight Steven Mercurio Ernst Hauke Richard Hickox Peter Guth Laszlo Kovacs Otto Ackermann Helmut Froschauer Walter Weller David Parry Rudolf Bibl Jan Schultsz Heinz Wallberg Heinz Fricke
Michael Heltau, reader
Alfred Sramek, bass
Birgid Steinberger, soprano
Margarita de Arellano, soprano
Richard Tauber, tenor
Thomas Allen, baritone
Zsuzsa Csonka, soprano
Janos Berkes, tenor
Edith Lienbacher, soprano
Erich Kunz, baritone
Elisabeth Schwarzkopf, soprano
Dusolina Giannini, soprano
Janice Watson, soprano
Yvonne Kenny, soprano
Ingrid Kertesi, soprano
Peter Morrison, baritone
Bruce Ford, tenor
Helen Williams, soprano
Ana Maria Martinez, soprano
Nigel Woodhouse,
James Ellis,
Herbert Lippert, tenor
Johann Reinprecht, tenor
Johannes Kalpers, tenor
Alexander Klinger, tenor
Nicolai Gedda, tenor
Mirjana Irosch, mezzo-soprano
Mathias Hausmann, baritone
Marwan Shamiyeh, tenor
Peter Branoff, vocals
Bernd Ander, vocals
Daniel Serafin, tenor
Noemi Nadelmann, soprano
Marilyn Hill Smith, soprano
Jochen Kowalski, counter-tenor
Thomas Dewald, tenor
Daniel Kirch, tenor
Emmy Loose, soprano
Anton Niessner, baritone
Joseph Schmidinger, bass
Otakar Kraus, baritone
Diana Montague, mezzo-soprano
Jana Scharkowskaja, soprano
Marcel Wittrisch, tenor
Katharina Richter, soprano
Karl Fath, bass-baritone
Kay Steifermann, vocals
Eva Lind, soprano
Pamela Coburn, soprano
Juan Jose Lopera, tenor
Inga Nielsen, soprano
James Schwabacher, tenor
Recording date: 1938

Lippen schweigen - 2:58

Eine Nacht in Venedig (A Night in Venice)

(more info)

Performed by: Slovak State Philharmonic Orchestra, Kosice Hungarian Operetta Orchestra Kitchener-Waterloo Symphony London Philharmonic Orchestra Berlin Radio Orchestra Philharmonia Orchestra Morbisch Festival Orchestra Linz Bruckner Orchestra Stockholm Strauss Orchestra
Composed by: Johann Strauss II
Conducted by: Alfred Walter Raffi Armenian Mika Eichenholz Peter Guth Laszlo Kovacs Heinrich Steiner Otto Ackermann Walter Weller Rudolf Bibl
Andreas Post, tenor
Daniel Buckard, tenor
Pierre Gylbert, tenor
Erika Andersson, mezzo-soprano
Anna Larsdotter Persson, mezzo-soprano
Merete L. Meyer, soprano
Anna-Maria Krawe, soprano
Kristina Hansson, soprano
Henrik Holmberg, tenor
Karl Donch, baritone
Carla Spletter, soprano
Janos Berkes, tenor
Karl Schmitt-Walter, baritone
Erich Zimmermann, tenor
Margarethe Arndt-Ober, mezzo-soprano
Rosl Seegers, soprano
Erich Kunz, baritone
Elisabeth Schwarzkopf, soprano
Johan Christensson, tenor
Bruce Ford, tenor
Hanna Ludwig,
Karel Stepanek,
Hanna Norbert,
Anton Diffring,
Lea Seidl,
Herbert Lippert, tenor
Peter Klein, tenor
Nicolai Gedda, tenor
Franz Kalchmair, bass
Evelyn Schorkhuber, mezzo-soprano
Anton Steingruber, tenor
Wilhelm Gartner, voice
Mirjana Irosch, mezzo-soprano
Heike Wittlieb, soprano
Christian Baumgartel, tenor
Klaus Kuttler, baritone
Romana Noack, soprano
Mehrzad Montazeri,
Emmy Loose, soprano
Tatjana Dravenau, piano
Marcel Wittrisch, tenor
Mark DuBois, tenor
Joanne Kolomyjec, soprano
Recording date: 25-28, 31 May, 25 September 1954

Quadrille, Op. 416, "Komm in die Gondel" - 2:55

Grafin Mariza (Countess Mariza)

(more info)

Performed by: Budapest Symphony Orchestra Hungarian Operetta Orchestra Studio orchestra Stuttgart Radio Symphony Orchestra Morbisch Festival Orchestra Cologne West German Radio Orchestra
Composed by: Emmerich Kalman
Conducted by: Anton Paulik Michail Jurowski Laszlo Kovacs Willy Mattes Wilhelm Schuchter Rudolf Bibl Jan Schultsz
Julia Bauer, soprano
Richard Tauber, tenor
Eva Marton, soprano
Zsuzsa Csonka, soprano
Janos Berkes, tenor
Carlotta Vanconti, soprano
Marko Kathol, tenor
Ursula Pfitzner, soprano
Gerhard Ernst, baritone
Nikolai Schukoff, tenor
Natela Nicoli, mezzo-soprano
Noemi Nadelmann, soprano
Sari Barabas, soprano
Marcel Wittrisch, tenor
Jyrki Niskanen, tenor
Fritz Wunderlich, tenor
Recording date: 1932

Komm mit nach Varasdin - 3:39

Reviews

Be the first to review this title

FREE SHIPPING on orders
of 5 items or more!

Earn Naxos Rewards Points by opening an account and buying your favorite music today! Create your account here.

See all of our great site features here.

Composer(s):
Kalman, Emmerich; Lehar, Franz; Lohner-Beda, Fritz; Strauss II, Johann

Conductor(s):
Kovacs, Laszlo; Walter, Alfred

Orchestra(s):
Hungarian Operetta Orchestra; Slovak State Philharmonic Orchestra, Kosice

Artist(s):
Berkes, Janos; Csonka, Zsuzsa; Kertesi, Ingrid

Label: Naxos Classics
UPC: 730099594127
Item Number: 8550941
Release Date: Nov 4, 1996