These two Strauss operettas in Legge’s Champagne Operetta series make an apt couple of bedfellows, neither being quite what Strauss himself wrote.
Strauss never in fact wrote an operetta called Wiener Blut, but, towards the end of his life, he did give Adolf Müller permission to adapt some of his existing dance music to a text by Victor Léon and Leo Stein. The result is a charming confection of familiar tunes, brilliantly performed here by Legge’s house operetta team of Schwarzkopf, Gedda and Kunz, alongside Emmy Loose, Erika Köth and Karl Dönch, with the Philharmonia under Otto Ackermann. However heavily cut (and this one probably suffers more cuts than the other operettas they recorded), there is no denying the echt-Viennese style in this sparkling performance. No more perfect example could exist than Schwarzkopf and Gedda’s swooning phrasing in the duet Wiener Blut.
Eine Nacht in Venedig has had a somewhat complicated history. The original Strauss operetta enjoyed only a limited success, and was massively revised (by Korngold and Ernst Marischka) for a 1923 production, which is, with one or two re-arrangements, additions and omissions) the version used for this 1954 recording.
Regardless of editions, though, this performance, like the other operettas in this series, is an absolute joy, with superb performances from the house team of Schwarzkopf, Gedda, Loose and Kunz.
Both operettas are absolute joy and thoroughly enjoyable.
Oddly enough, my previous post referred to an opera (Massenet’s Cendrillon) where a female breeches role was given to a tenor and the same thing happens here, though not quite to such detrimental effect. Where Gedda’s Prince Charming sounds all wrong, Rudolf Christ’s languidly effete Orlovsky almost reconciles me to the change and this is my only slight quibble about a superb, classic recording, which I happen to prefer to Karajan’s later effort for Decca.
Though recorded in London with the Philharmonia, cast and conductor bring an echt Viennese quality to the whole enterprise, the judicially edited dialogue delivered in sparkling fashion. You don’t really need to speak German to understand what’s going on.
Schwarzkopf is a superb Rosalinde, none better, singing her Czardas with appropriate dash and swagger, the voice gloriously rich and firm; Streich a delightfully pert and flirtatious Adele; Gedda a properly tenor Eisenstein, with a fine line in comedy, especially when impersonating Blind in the final scene; Kunz a genially scheming Falke. Excellent contributions also from Krebs as Alfred, Dönch as Frank and Majkut as Blind. This really is a fabulous cast and Legge’s superb production ensures that the recording sounds like a real performance.
Karajan’s conducting is perhaps on the swift side, but the whole performance fizzes and pops like the very best brut champagne that the operetta celebrates and is guaranteed to lift the spirits.